Stephen Campbell Moore as Joe in rehearsal for Chimerica. Photo: Johan Persson.
“A photograph is not an opinion,” mused Susan Sontag. “Or is it?”
It may be a mission. Exemplary practitioners like Robert Capa, Philip Jones Griffiths, Don McCullin, James Nachtwey and Gilles Peress are documentarists who refuse to be confined by that description. They are witnesses. But they are not neutral. They have a point of view – they are against forgetting. “What sustains me is the overall value in communicating,” says Nachtwey.
Find out more about the times in which Chekhov lived and worked.
Anton Chekhov reading his play The Seagull to thecompany of the Moscow Art Theatre
When Anton Chekhov’s classic The Seagull premiered on 17 October 1896 in St. Petersburg at the Alexandrinsky Theatre, it was a complete failure both in the audience’s, the critics’ and Chekhov’s own opinion. The audience’s angry response to the play was both immediate and intense. They were hissing the performance by the end of the first act. They loudly criticised the play for its lack of action and recognisable characters. The actress playing Nina, Vera Kommissarzhevsky, whose work Chekhov had praised highly in rehearsals, was so terrified by the audience’s response that she lost her voice. How then did a play initially booed by its audience become, as Konstantin Rudnitsky argues, ‘one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama’?
Anton Pavlovich Chekhov was born in Taganrog, Russia in 1860.He was the third child of six to Pavel Egorovich Chekhov, a grocer. His grandfather had been a serf, who had managed to buy his family’s freedom in 1841. During his childhood, the young Chekhov and his siblings worked in the family store and studied at their local school.
The rehearsed reading gives the clearest sense yet of bodies on a stage – people – trying to do things to and get things from one another, rather than a series of talking heads showing off verbally. I do the voices a lot when I'm writing which gets you so far but hearing good actors, really good actors – as we had for the rehearsed reading of The Seagull – allows the play to emerge much more clearly. And this is terrifically exciting.
Psychiatrist Dr. Gareth Smith shares his experience of treating mental illness with the cast and creative team of The Effect.
Dr Mark Payton, the CEO and Chief Scientific Officer of the biopharmaceutical company Oxagen, explains how new drugs are developed and why drug development is vitally important for our future health.
Psychopharmacologist, Val Curran, on the science behind The Effect.
Aimee Dumbleton gives an insider’s view of what it is like to take part in a clinical drugs trial.
Dr.Chris Chambers explains how cognitive neuroscientists use techniques such as fMRI and TMS to investigate how our brains work.