Breaking Silence: Censorship and Self-Censorship. The fourth and final episode of our podcast mini-series, Breaking Silence , explores issues of censorship, self-censorship and cancel culture in the creation of art. Through conversations with a range of acclaimed speakers across a range of disciplines, Breaking Silence explores ways in which voices, stories and cultures have been silenced both in current times and recent history, when silence can be a positive force for change, and what role the arts can play in breaking silences. Photograph by Jonathan Slaff. The third episode of our podcast mini-series, Breaking Silence , looks at the silencing of cultural identity across national, ethnic and religious borders and ways in which international artists are unearthing these issues in their work. Music credits Intro music: Fakiiritanssi by Marouf Majidi.
The Found Money Netherlands. The Treasure Denmark. The Iron Chest Germany. Return to D. Ashliman's folktexts , a library of folktales, folklore, fairy tales, and mythology. How a Fish Swam in the Air and a Hare in the Water Ukraine Once upon a time an old man and his wife lived together in a little village.
Twelve films from female directors made it into the greatest films of the 21st Century in , but none of those films featured in the top And in our first poll of film critics, to find the greatest American films — just two were co-directed by a woman. So in we set out to focus the spotlight firmly on women directors.
His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics. Chekhov renounced the theatre after the reception of The Seagull in , but the play was revived to acclaim in by Konstantin Stanislavski 's Moscow Art Theatre , which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble  as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text".