Hi,
Do you have an account with amazon?
Do you have an account with amazon?
Thanks
Denis Berkfeldt
Denis Berkfeldt
Sunday, January 26, 2025
Wednesday, March 29, 2023
Thursday, June 6, 2013
Denver in 2020 - a Renaissance City
In thinking about my own vision for Denver’s cultural, artistic and creative future, I realized that what I ‘imagined’ was Denver as a renaissance city. Not renaissance in the sense of being reborn but renaissance in the sense of the elements that symbolized the Renaissance age: a diversity of creative endeavors in the arts, language, architecture, sciences and math.
Developments in these individual endeavors became synergistically interrelated. The invention of the Guttenberg Press, for instance furthered learning and progressive development in a wide variety of other fields. Some of the great artists of the times also pursued knowledge and development of mathematics and science.
When I think of Denver culturally, artistically and creatively in 2020, I think of Denver as a home to not only painters, musicians, writers, filmmakers, ballets, orchestras, theatres etc. but also of persons, organizations and companies creatively developing new technologies; new ways of thinking; ways to improve the human condition. I imagine Denver as a place where arts, culture and creativity positively stimulate every segment and enterprise in our city in all its diversity.
So as I seek to hear from our city in its diversity, I am also seeking to hear from app developers, video-game developers, the entrepreneurial community, creative thinkers in every endeavor.
I imagine Denver in 2020 as a true Renaissance City populated with Renaissance Men and Women.
Developments in these individual endeavors became synergistically interrelated. The invention of the Guttenberg Press, for instance furthered learning and progressive development in a wide variety of other fields. Some of the great artists of the times also pursued knowledge and development of mathematics and science.
When I think of Denver culturally, artistically and creatively in 2020, I think of Denver as a home to not only painters, musicians, writers, filmmakers, ballets, orchestras, theatres etc. but also of persons, organizations and companies creatively developing new technologies; new ways of thinking; ways to improve the human condition. I imagine Denver as a place where arts, culture and creativity positively stimulate every segment and enterprise in our city in all its diversity.
So as I seek to hear from our city in its diversity, I am also seeking to hear from app developers, video-game developers, the entrepreneurial community, creative thinkers in every endeavor.
I imagine Denver in 2020 as a true Renaissance City populated with Renaissance Men and Women.
We need your imagination
Yesterday saw a very productive work session with those of us involved in developing Denver’s new cultural plan: Imagine Denver 2020. As is often the case, we sought answers to questions, which then prompted even more questions. The process entailed a lively and enlightening discussion. It was good.
What we are striving to do is develop the key elements of a plan that will guide Denver’s artistic, cultural and creative life and environment to the year 2020. Imagine Denver 2020 means imagine what this city could and should look like at the end of this decade and create the road map to get us there.
Part of this work has been posing questions to as wide a variety of people as possible. Not just artists or those involved in the arts and culture but the public at large. This is a diverse city and diverse voices must be heard as this plan is developed. I see the future through my own eyes, but I want and need to know what others see through their eyes; how do others of differing backgrounds, ages, ethnicities, and cultural influences see Denver and its artistic, cultural and creative future; how do they see its present?
I also want to know how others - others who may not think of themselves as caring about or knowledgeable about ‘culture’ or even intimidated by the word – do see Denver’s artistic, cultural and creative present and future.
So, we are reaching out. We want to hear from you, all of you; Denver in all its diversity. We have had a great response to our online survey, and that can still be taken, however we have other means to hear your voices and communicate with you regarding this endeavor. Do you have a group we could come and speak with? Is there information we can share with you or your group? Are you just an individual who wants to know more and would like share your thoughts about this? Follow up with me here, or go to the website: www.imaginedenver2020.org
What we are striving to do is develop the key elements of a plan that will guide Denver’s artistic, cultural and creative life and environment to the year 2020. Imagine Denver 2020 means imagine what this city could and should look like at the end of this decade and create the road map to get us there.
Part of this work has been posing questions to as wide a variety of people as possible. Not just artists or those involved in the arts and culture but the public at large. This is a diverse city and diverse voices must be heard as this plan is developed. I see the future through my own eyes, but I want and need to know what others see through their eyes; how do others of differing backgrounds, ages, ethnicities, and cultural influences see Denver and its artistic, cultural and creative future; how do they see its present?
I also want to know how others - others who may not think of themselves as caring about or knowledgeable about ‘culture’ or even intimidated by the word – do see Denver’s artistic, cultural and creative present and future.
So, we are reaching out. We want to hear from you, all of you; Denver in all its diversity. We have had a great response to our online survey, and that can still be taken, however we have other means to hear your voices and communicate with you regarding this endeavor. Do you have a group we could come and speak with? Is there information we can share with you or your group? Are you just an individual who wants to know more and would like share your thoughts about this? Follow up with me here, or go to the website: www.imaginedenver2020.org
Friday, May 10, 2013
Alan Cummings as Lady Macbeth and Female Hamlets – role reversal in Shakespeare
Alan Cummings is currently playing Lady Macbeth on Broadway – actually he is playing all the characters. Cummings’ plays a lone patient housed in a clinical room deep within a dark psychiatric unit. He relives the Macbeth story playing each character himself as a closed circuit television camera watches.
Wild, right?
Yes.
However, the gender reversal part (a man as Lady Macbeth) in Shakespeare is nothing new. Of course in Shakespeare’s time female roles (his and others) were never played by women but by boys. As time went on, though, women on stage became acceptable and female roles were actually played by females. Then the gender reversal took on a new twist. Women playing the male roles.
Hamlet is considered one of the great roles, not just in Shakespeare but in all drama. So it is not surprising that women as well as men would want to play the Prince. And they have and not just in the modern era.
Sarah Siddons, the great British (she was actually born in Wales) actress of the 18th Century played all the great Shakespearean women – she was particularly noted for her Lady Macbeths – but also played Hamlet 200 years ago. To my knowledge she is the first woman to do so in a public performance. (Unless you are a student of theatre history, you may not be familiar with Siddons, but if you are a film buff, you will be. The opening scene of the wonderful All About Eve, is the presentation to Anne Baxter as Eve Harrington of the Sarah Siddons Award.)
Sarah Bernhardt also played Hamlet in 1899 London. There have been many others up to our own time including a tremendous performance by Judith Anderson on a national tour and at Carnegie Hall in 1970.
These performances involved the women playing Hamlet as a man. However there are instances in which the character is actually played as if a woman. Scholars have long commented on the male/female nature of Hamlet.
Of course, Shakespeare also wrote female characters that spent most of their time on stage pretending to be boys: As You Like It
and Twelfth Night.
There is a lot of discussion in the theatre today regarding color-blind and gender-blind casting. And indeed we have seen productions of Neil Simon’s The Odd Couple with the male roles played by women, as women. There was also a tremendous production of Twelve Angry Women, the all-female version of the classic courtroom drama.
So far, most of the proponents of gender-blind casting have advocated for women being able to play men’s roles. But interestingly, there is a bit of a flap now being raised about some all-male casts of Shakespearean plays. Apparently in some circles the notion of gender-blind casting only goes one way.
But that is a subject for another day.
Wild, right?
Yes.
However, the gender reversal part (a man as Lady Macbeth) in Shakespeare is nothing new. Of course in Shakespeare’s time female roles (his and others) were never played by women but by boys. As time went on, though, women on stage became acceptable and female roles were actually played by females. Then the gender reversal took on a new twist. Women playing the male roles.
Hamlet is considered one of the great roles, not just in Shakespeare but in all drama. So it is not surprising that women as well as men would want to play the Prince. And they have and not just in the modern era.
Sarah Siddons, the great British (she was actually born in Wales) actress of the 18th Century played all the great Shakespearean women – she was particularly noted for her Lady Macbeths – but also played Hamlet 200 years ago. To my knowledge she is the first woman to do so in a public performance. (Unless you are a student of theatre history, you may not be familiar with Siddons, but if you are a film buff, you will be. The opening scene of the wonderful All About Eve, is the presentation to Anne Baxter as Eve Harrington of the Sarah Siddons Award.)
Sarah Bernhardt also played Hamlet in 1899 London. There have been many others up to our own time including a tremendous performance by Judith Anderson on a national tour and at Carnegie Hall in 1970.
These performances involved the women playing Hamlet as a man. However there are instances in which the character is actually played as if a woman. Scholars have long commented on the male/female nature of Hamlet.
Of course, Shakespeare also wrote female characters that spent most of their time on stage pretending to be boys: As You Like It
and Twelfth Night.
There is a lot of discussion in the theatre today regarding color-blind and gender-blind casting. And indeed we have seen productions of Neil Simon’s The Odd Couple with the male roles played by women, as women. There was also a tremendous production of Twelve Angry Women, the all-female version of the classic courtroom drama.
So far, most of the proponents of gender-blind casting have advocated for women being able to play men’s roles. But interestingly, there is a bit of a flap now being raised about some all-male casts of Shakespearean plays. Apparently in some circles the notion of gender-blind casting only goes one way.
But that is a subject for another day.
Thursday, May 9, 2013
Imagine Denver 2020, Swallow Hill, Harry Tuft, Denver Folklore Center, Denver Folk Music in the 60s
Last night, I did another Community Forum for the Imagine Denver 2020 cultural plan.
The Forum was at Swallow Hill and being there I couldn’t help but think of Harry Tuft, the Godfather of Denver Folk Music. Swallow Hill Music grew out of the Denver Folklore Center, which Harry started in 1962. Harry and the Denver Folklore Center are still around though the location has changed.
Originally, the Folklore Center was at 17th and Pearl. It was ostensibly a guitar shop but was really a hangout and home away from home for folk musicians of the 60s. I was one and wandered in to the Folklore center in 1967. I remember it being funky, a bit dark and dusty with wood walls – I thought it was perfect. Next door, or maybe a couple doors down (my memory fades, it was, after all nearly 50 years ago) was the Green Spider Coffee House where many musicians who frequented the Folklore Center played. It was a typical 60s coffee house. Long and narrow with candles in bottles, etc. I played there with the string band of which I was part – The New Mobile Strugglers – quaint, huh? We were two guitars (six-string and 12-string) a bass and banjo.
Harry eventually took over the space and expanded it into a concert hall – yes the beginnings of Swallow Hill. Playing in the Hall or hanging out in the Folklore Center you would see the likes of Judy Collins, Joan Baez, Utah Phillips, Ramblin’ Jack Elliot, Doc Watson, Denver’s own Walt Conley, the list goes on.
Steven Fromholz was there as well. He wrote I’d Have To Be Crazy, which Willie Nelson recorded (you can hear Steven singing back up). I first met Steven at the Irish Pub and Grill, in Pueblo, when he was singing with Dan McCrimmon as Frummox. They recorded an album titled Here To There. There are some great songs on that album including The Man With The Big Hat. In the background of the song is some bar noise, glasses clinking, voices, etc. One of those voices is Harry Tuft.
The Folklore Center eventually moved to south Pearl Street where it remains today.
So, back to the Community Forum: I noted last night that the Folklore Center was and is the kind of creative business that supports arts and culture and which is supported by arts and culture; it represents the synergy that has a positive impact on the community as a whole.
The Imagine Denver 2020 cultural plan needs to reflect how that synergy can occur in a diverse and wide spread way.
The Forum was at Swallow Hill and being there I couldn’t help but think of Harry Tuft, the Godfather of Denver Folk Music. Swallow Hill Music grew out of the Denver Folklore Center, which Harry started in 1962. Harry and the Denver Folklore Center are still around though the location has changed.
Originally, the Folklore Center was at 17th and Pearl. It was ostensibly a guitar shop but was really a hangout and home away from home for folk musicians of the 60s. I was one and wandered in to the Folklore center in 1967. I remember it being funky, a bit dark and dusty with wood walls – I thought it was perfect. Next door, or maybe a couple doors down (my memory fades, it was, after all nearly 50 years ago) was the Green Spider Coffee House where many musicians who frequented the Folklore Center played. It was a typical 60s coffee house. Long and narrow with candles in bottles, etc. I played there with the string band of which I was part – The New Mobile Strugglers – quaint, huh? We were two guitars (six-string and 12-string) a bass and banjo.
Harry eventually took over the space and expanded it into a concert hall – yes the beginnings of Swallow Hill. Playing in the Hall or hanging out in the Folklore Center you would see the likes of Judy Collins, Joan Baez, Utah Phillips, Ramblin’ Jack Elliot, Doc Watson, Denver’s own Walt Conley, the list goes on.
Steven Fromholz was there as well. He wrote I’d Have To Be Crazy, which Willie Nelson recorded (you can hear Steven singing back up). I first met Steven at the Irish Pub and Grill, in Pueblo, when he was singing with Dan McCrimmon as Frummox. They recorded an album titled Here To There. There are some great songs on that album including The Man With The Big Hat. In the background of the song is some bar noise, glasses clinking, voices, etc. One of those voices is Harry Tuft.
The Folklore Center eventually moved to south Pearl Street where it remains today.
So, back to the Community Forum: I noted last night that the Folklore Center was and is the kind of creative business that supports arts and culture and which is supported by arts and culture; it represents the synergy that has a positive impact on the community as a whole.
The Imagine Denver 2020 cultural plan needs to reflect how that synergy can occur in a diverse and wide spread way.
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