Not many peacocks could handle an 8,000-strong festival audience. But such is the gentle atmosphere of the annual End of the Road music festival — set in the historic Larmer Tree Gardens, north Dorset — that the resident peacocks get on just fine with their weekend visitors. Last weekend was the seventh outing of the
The Venice Architecture Biennale, the world’s biggest and most prestigious architecture exhibition, struggles to know who it’s for — the professional architect or the interested public — and indeed why it exists at all. This is partly Venice’s fault. To spend one’s time looking at architectural models, drawings and, this year, photographs and film when
Where better to explore the history of the city than at its very heart? Guildhall Art Gallery, nestled between St Paul’s Cathedral and the Bank of England, is currently home (until 23 September) to Butcher, Baker, Candlestick Maker, a collection of artefacts from London’s Livery Companies, or guilds — an historic part of London’s identity.
The Peckham Peace Wall began life as a window: a long pane of shop glass in the front of Rye Lane’s newly refurbished branch of Poundland. During the riots last summer, the glass went, along with some of Poundland’s stock. The next morning, after the damage had been boarded up, a local theatre group covered
‘Our fate lies within ourselves. We just have to be brave enough to see it,’ says Princess Merida, the winsome, feisty heroine of Disney-Pixar’s latest animated romp Brave (PG, nationwide). ‘Why shouldn’t we choose our own fate?’ asks another character, chafing at the constraints imposed by family, duty and tradition. Why not, indeed? As Brave
In the beginning was the Edinburgh International Festival, a carefully curated exhibition of high culture. Then came the Fringe, in which every pub and church hall in the city became a venue for everything from student theatre to experimental dance. Now, it is mutating again — and for the better. The real arts story of
Stage hypnotists need the trust of their audience, but also a whiff of danger. So Derren Brown calls his show Svengali, though he is not really an evil puppetmaster but a gentle, coaxing, mostly ethical puppetmaster. That show, which opened for its first run at the end of 2010, is back for a short time
If the River of Music put you in the mood for stimulating sounds on the banks of the Thames, next week’s Meltdown at the Southbank Centre, also part of the London 2012 Festival, is well-timed. Meltdown’s later-than-usual slot should earn it a little reflected Olympic glory, though it’s hard to imagine anyone less suggestive of
The iTunes classical chart hasn’t been around very long, but for the time it has been available the number one slot has usually featured Pavarotti singing ‘Nessun dorma’. Nothing wrong with that, except that the chart was invented specifically to encourage the current classical music scene and give an impression of who was doing what
It took Ian Fleming just eight weeks to write his first James Bond novel but the legacy of his eponymous spy has been far less fleeting. Fifty years after 007 first made it on to the big screen in Dr No (see Sean Connery, above) a Barbican exhibition is celebrating with a stunning display of
It was somewhat weird that Pina Bausch’s Palermo Palermo opened on the same night as Spain’s victory over Italy in the Euro 2012 final. After all, the Sicilian capital was long dominated by the Spaniards. Yet in Bausch’s Tanztheater vision of Palermo there are no references to such history, bar a few Spanish-looking steps set
The museum Titanic Belfast (above) opened recently to commemorate the centenary of one of our best-loved disasters. If you think you know everything there is to know on the subject, or more than you really want to, think again. Hull 401, as she was known to Harland and Wolff, may yet prove to be the
When World Cities 2012 — better known as the current Pina Bausch season — was first presented, questions were raised about the apparently random order of the various pieces. Yet a chronologically structured retrospective would have deprived the event of the theatrically stimulating game of juxtapositions that the reordered version possesses. As with her non
An enthralling exhibition at Goldsmiths’ Hall, Gold: Power and Allure (until 28 July), which charts Britain’s history and celebrates exquisite artistry and craftsmanship, awaits those who venture into the City this summer. The grand opulence of the Hall is a superb setting: the deep plum-red, gilded and mahogany furnishings and the grand marble Staircase Hall
There’s one exception to the sometimes trivial and artificial events of the Cultural Olympiad: Writing Britain: Wastelands to Wonderlands at the British Library (until 25 September). Where other shows emphasise London’s separateness, Writing Britain subordinates the capital to the geography, peoples and history of the British Isles as a whole. Writers have recorded Britain’s development
Last Wednesday two of the three live pooches that appeared in Pina Bausch’s Viktor did onstage what most dogs do when in a state of arousal. The incident, which elicited a great deal of audience laughter and repressed giggles on stage, would have amused the late Bausch. First seen in 1986, Viktor was the first
As an occasional user of Queensway Tube station, I have noticed that on exiting the lift I am met with the extraordinary and beguiling sounds of Mozart symphonies and piano concerti — well-chosen, beautifully played and blasted over the Tannoy system. There is something transporting about this post-underground experience, something I don’t expect after the
The Bauhaus was a sort of university of design, whose progressive ideas eventually fell foul of the Nazis. But as the exhibition Bauhaus: Art as Life is keen to impress, it was also a lifestyle, a modernist utopia, where staff and students were encouraged to mix freely, which they did with gusto. This, just as
Not many dance-makers have had their art celebrated in major, award-winning feature films. Pina Bausch has. Wim Wenders’s 2011 Pina and Rainer Hoffmann’s/Anna Linsel’s 2010 Dancing Dreams offered unique insights into her creative genius, facilitating the posthumous popularisation of a dance-specific phenomenon. Yet no film, no documentary and certainly none of the countless writings that
Shadows and reflections have always triggered all sorts of fantasies. Theatre itself, in the words of many playwrights and theorists, is nothing but a game of shadows. Today, filmic and computer-generated or manipulated projections have taken the place of what was once cleverly done with candles and mirrors. Indeed, projections seem to have become a