Friday, 26 August 2016

Random thought of the week #4

Random thought of the week

There's a saying that you never truly know the value of what you have until it's gone, you know like those cliché stories of how the guy doesn't realise he's in love until the girl is gone and it's too late? Passenger even wrote a song about it. It's as if it's been drilled into our society to take things for granted, to live in the moment. But how could we survive if everyone we loved and who loved us just suddenly disappeared? We would be lost, empty. We'd have nowhere to run. So when you hear YOLO, instead of thinking it means you are the centre of the universe, think of everything in your life that truly matters. Think of all the people you would be lost without, and then do your best to make the most of the time you have with them, before it's too late. Cherish every friendship, every kind word, every memory, because after all you've only got one chance. So let's make the most of the chance we've got, before it's too late.

Poetry Day!

It's poetry day... So here's a poem!

Golden shimmering leaves fall down, down, down,
Softly landing by my own bare feet.
Dew like the teardrops that glisten in the sun,
The place my world fell down.

Into an abyss of numbness I'm sent
As your laughter haunts my memory
And stifles our hopes of long nights out
And the fate that youth imagines before the fall.

If only I had been there
If only I could have stopped you
And told you you were not alone
But then again, you're gone.

I know Regrets don't change a thing,
But that only rips the heart string
Named hope
And love.

By Claire Sauder

Friday, 12 August 2016

Random thought of the week #3

Random thought of the week

Have you ever wondered whether we really are alone in the universe? What if everything we know is actually just the work of some incredibly advanced programming by some other being in a different dimension? What if our very existence is all the work of imagination? Have you ever wondered while playing The Sims whether you were actually some kind of Sim being controlled by someone on the other end who was playing Sims and pretending to be that someone on the other end? What if The Sims is actually a training program for all the beings who control us? And what if the cause of midlife crisis' is simply when these higher beings switch people? And what if, ours is just one of thousands of many alternate realities, and each person is the centre of their own reality?! There are so many questions about our very existence and so many possibilities yet to be ruled out, will we ever really know the answers?

Monday, 8 August 2016

Imagine the World is Ending.

https://vimeo.com/176253525

Do today's young people have a right to be angry about the world they've inherited? Two schoolboys use poetry and a selfie stick to confront the problems facing the world.
Director/Co-Producer: Brendan Withy, Co-Producer: Doug Dillaman
Loading Docs is a series of incredible 3-minute documentaries from New Zealand. Watch them all, like and share!
loadingdocs.net/itwie

Friday, 5 August 2016

The fine arts show

The Fine Arts Show

The Fine Arts Show is a show where New Zealand's accomplished and top art students can displayed their artwork at MAGS.
There are many difference forms of art such as paintings, sculptures, art glass, photography and ceramics. There are 300 pieces of art and more for sale.
Not only are there paintings for sale but there will be canapes and drinks all through the night.

Examples of Students' Work:
(Fruit by Lois Wadsworth)

The first opening at MAGS will be Friday 6:30pm
Tickets to enter are $40 from www.iticket.co.nz

However the admissions are free on the weekend:
Saturday, 20 August, 10am-7.30pm
Sunday, 21 August, 9am-3pm

Support MAGS by coming along to the Fine Art Show.



By the amazing Lois

Random thought of the week #2

Random thought of the week 
"The truth is incontrovertible. Malice may attack it, ignorance may deride it, but in the end, there it is." ~Winston Churchill



What is truth? For some of us the truth is perceived as a certainty of knowledge in which you base your beliefs. When you believe in something and are fully convinced that it is fact, for example White is a collection of all the colours and two and two make four, then it is truth. Or is it? Each of us has slightly different so called truths in which we all have a solid belief. For some it may be a strong belief in the theory of evolution, or for others the truth is the existence of the supernatural. Some believe that man has been to the moon, and others that it was all a conspiracy. Each of these beliefs are held as certain truth to individuals, but can't there really be only one true truth? And even so, does it really matter if your truth is the actual truth? We each are convinced that what we know to be the truth is the actual truth and that everyone else's truths are falsehoods. But, with millions of varying truths, how can you truly find the real truth?

Friday, 22 July 2016

Globe Robes



Globe Robes

Interviewing a costume designer for the Pop Up Globe

Bob points across the room to a massive purple and blue striped farthingale. “So that’s worn with a bum roll underneath,” (another point, this time towards a puffy curved garment relaxing on a rack,) “And you start off with a corset.” Each statement is punctuated by Bob suddenly disappearing between racks of costumes, pointing out each and every undergarment.
“In fact, under the corset goes a smock, then your corset goes on top, then your bum roll, then your farthingale, then your petticoat, then you’d have a top skirt on top, then your doublet -- ” Bob breaks off at this point, wondering if there are such things as female doublets, and if so what are they actually called?
“ -- Then you have your gown on top, and this is super heavy, try this on…”  Bob lifts a velvety black gown (which is usually worn by Maria in Twelfth Night...the play where all female characters are played by men,) off a coat hanger, and I cautiously slip into it, trying hard not to imagine the other, older actor that wears it as well. I make the utterly embarrassing mistake of putting my arms into sleeves that are not meant to be worn, and although I am just wearing the farthingale and gown, the weight of it is incredible. No wonder the actors lost weight in the process of performing, “Which from a designing point of view is really annoying,” laughs Bob, “‘Cause everyone keeps getting thinner and thinner and the clothes are like, falling off them.”

Auckland’s Pop Up Globe does not exist anymore -- it was finally taken down a couple of  months ago, leaving nothing but memories and rain-soaked programmes behind. When the Pop up Globe was halfway through its extended season, I got the opportunity to interview Babara (Bob,) Capocci, the costume designer for the Globe’s performance of Twelfth Night. Bob has worked in New Zealand and England, for The Costume Studio, theatre and TV -- notably the Royal Opera House and the Globe in London.

I had never encountered Shakespeare’s work until the beginning of this year, but as soon as I read the prologue of Romeo and Juliet, I realised my great passion for anything to do with Shakespeare (a rather frustrating thing for a 14 year old). I was very nervous as Bob ushered me past the ‘Actors Only’ signs, and felt rather awkward as I posed for a photo in the Green Room (an area where actors hang out before going onstage, bedecked with couches and cushions and an antique lamp). I had prepared 8 questions, all of which Bob answered in great detail, and with lovely warmth and friendliness. Her favourite play by Shakespeare is Twelfth Night, so it's quite a nice coincidence that she got to design and re-create the costumes for the play. I went to see Twelfth Night as a groundling a little over a month ago, standing in an over-large camouflage rain jacket as it rained the entire time. However, the rain didn't dampen the situation at all, and I loved how the actors transformed into believable, hilarious characters. The most rewarding part of being part of the Pop up Globe, in Bob’s opinion, is the audience’s reaction.
“Those moments, those totally make it worth it when the audience gets it.” There must be a great sense of pride in watching this happen, as the costumes are a huge part of character portrayal, from Maria’s breast-shaped necklace to Malvolio’s cross-gartered stockings.

The play (therefore the costumes,) is set in the Jacobean period of 1616. This means a lot of ruffs, bows and undergarments (as I learnt when trying Maria’s outfit on). The costumes were either hired or made from scratch, and the making of a single costume - minus things like a hat or cloak - would take approximately 5 days, from start to finish. The most challenging part was sourcing the materials,
“In Auckland, there’s not a huge amount of resources in terms of all the little fastenings...even beautiful linen they produce in Amsterdam or somewhere that’s famous for it, it doesn't quite behave the same way it would back in those days.” Around question number 3, Bob pulls out the Costume Bible. This is a thick green folder, bulging with costume designs, trimmings of fabrics and samples, crazy Jacobean portraits for research… basically everything crammed into one holy folder. Bob flicks through numerous, meticulously drawn designs until she finds her favourite costume -- that of Count Orsino’s.
“So, I tell you what, I just love him so much. Often you draw up these designs and you’re like, ‘The chances of me finding fabric like this are pretty slim,’ You don’t know if the actor is gonna look like this,” Bob gestures to show various body proportions, “Or if he’s gonna look like that, or that, but he just looks so much like the design. He just wears it well, he’s good. They look like clothes, those guys. That’s what I think as a costume designer, you’ve won when they look like clothes not costumes.”

Bob then took me to a small-ish room, with racks and racks of heavily ornamented and elaborate costumes at one end, and tables where actors would sit and get their makeup done at the other. I learn that the tops and trousers of Count Orsino’s costume are pointed together (by little things called points of course,) like a massive onesie. Bob shows me costume after costume, one with hundreds of golden buttons down the front, one where every single bow (right down to what appears to be the thousandth,) has been sewn on by hand, identical costumes for Olivia/Cesario and Sebastian (the Twelfth Night twins). A tiny little piece of jewellery dangling off the end of a collar has been sourced at a jewellery store and then painted with nail varnish (as the colour wasn’t quite right); small things that you might not even notice have so much effort and creativity put into them.
“Clothes at this period, there’s so much going on inside…there’s a lot of padding, and all sorts. Even when nobody’s in it they’ve just got a shape to themselves. The clothes wear the people rather than the other way round, I mean, these days everything’s a lot less structured until you put it on a body and these are totally, totally the opposite.”

Finally, Bob takes me backstage. The blue curtains that usually block the audience from seeing inside are tied up for airing, and sunlight streams in from the open roof of the Pop Up Globe.

“So this is packed with quick change stuff all along, and there’s actors on chairs…it’s really dark and there’s little spots of light and there’s just madness going on. You can see emergency repairs going on, it gets quite crowded, if there’s a cast of 15 of them waiting to go on backstage.” I see a hulking shelf covered almost completely by a white sheet, revealing only a single mask from the Capulet’s feast scene in Romeo and Juliet. The urge to touch it is unbearable, but I settle for a photo instead. The tour over, Bob leads me out into the carpark and back into the real world.