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Creativity Motivation – What is motivation – Corey K Katir
Advertising From http://www.creativitymotivation.com Describes motivation process for creativity with emphasis on intrinsic motivation by Corey K Katir Works to go on display in ahomelya shop
From thetelegraphandargus.co A new artistsa collective has been set up in Keighley.
England's Ian Bell rediscovers himself after his desert doldrums | Barney Ronay
From feeds.bignewsnetwork In the most homely of home conditions at a mulch-green Lord’s, and with the first Test against the West Indies apparently heading inexorably one way, England’s batsmen only partially …
Birmingham royal ballet: cinderella a review
From guardian.co Hippodrome, BirminghamFor any British choreographer, part of the challenge of creating a new Cinderella lies simply in dodging the sweet, funny but overarching shadow cast by Frederick Ashton’s classic production for the Royal Ballet. Here, David Bintley doesn’t even wait for Prokofiev’s overture to finish before he stakes out his own, darker terrain. In a brief prologue he takes us to the grave of Cinderella’s mother, where a small and weeping Cinders watches her father being claimed by a sinister female friend, and has her first, terrified glimpse of the two girls who will become her horrible stepsisters.That terror is graphically justified through much of the first act, as Bintley and designer John Macfarlane consign Cinderella to the grimmest of below-stairs worlds. The kitchen is grey and damp, and we can almost smell the rankness of the dishcloth with which she has to wash the floor. Elisha Willis as first-cast Cinders is visually perfect: her delicate features look pinched and pale, as if she hasn’t had a hot meal in months.As for her vicious stepfamily, the ugly sisters may have pantomime-sounding monikers (Dumpy and Skinny), but they push Cinders around with realistic force, while their mother a Marion Tait at her most evilly charismatic a strikes a ghastly chill every time she appears. It’s not a prince and palace this Cinderella hankers for, but simple human affection.Bintley and Macfarlane continue spinning tradition in a dozen other clever ways. They restore some of the homely magic of Perrault, bringing on a capering consort of lizards, mice and a frog to aid the transformation scene. They add a smart sprinkling of comic detail: Dumpy, juice-stained and scattering orange peel as she guzzles all the fruit at the ball; the mob of desperate women who clamour to try on the glass slipper. …
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