CANBERRA, Australia, June 25, 2018 (News Wires) — The Australian soccer team competing at the World Cup is called the Socceroos. But a different kind of soccer-roo has dominated a pitch for half an hour in Canberra during a women's match.
The misguided marsupial made its first appearance on the stadium soccer field during the half time break on Sunday afternoon in a match between Canberra's two top teams — Capital Football Club and Belconnen United, Capital official Amber Harvey said on Monday.
The male eastern gray kangaroo bounded back during the second half, indifferent to efforts to drive him away and delaying play for 32 minutes, Harvey said.
"It was just a real menace," Harvey said.
"A few people came close to it to see if they could maybe get it to move on. It stood up pretty tall. I think it was just over 6 feet (183 centimeters), so they backed off pretty quickly. But I don't think anyone was alarmed too much by it," she added.
Players and officials tried to drive the unexpected pitch invader away by kicking balls at him with little impact. Video showed it apparently using his long hind legs and powerful tail to deflect balls from the goal area.
"It didn't react. It just kind of lay down," Harvey said.
A coach in a pickup truck eventually chased the roo from the stadium through a break in the fence into a car park from where it disappeared, apparently injured by its experience.
Although the match was played in the exclusive inner suburb of Deakin, kangaroos can be found almost anywhere in Canberra, the national capital.
The suburbs are set in large tracts of woods and grassland. Kangaroos usually doze among the trees by day and wander the streets at night to graze on watered lawns.
By: Youssra el-Sharkawy
The play, “The Metamorphosis,” is produced in a deserted building in central Cairo and the audience is invited to undergo a new artistic experience, visiting a creepy family of a father, mother and daughter who are going through a metamorphosis. There, the audience meets fears, depression and waiting for death.
Through the interactive performance,"The Metamorphosis," produced by Teatro Independent Theatre and directed by Omar el-Moutaz Bel’ah, the audience enters a haunted world, originally a cinema which had remained closed for over 50 years and was fitted out to suit the performance. There is dust everywhere and the dominant atmosphere is of alienation. Then an usher appears to give the audience instructions. They, then, are also given torches, face masks against dust and hospital bracelets.
They are then allowed to start a journey. They start in the eighteenth year of the third millennium, a time of great transition which sees the human race evolve into new levels of savagery and confusion.
The audience become visitors who are coming to see the residents of this deserted place and live some moments with them. The lighting is dim and that’s why they were given torches to light the scene.
“The performance is like the journey of existence. When we are born, we don’t know how the experience will turn out. Our parents give us instructions and we don’t know what we will do with them and some of them also may be of no importance. That’s exactly what the audience feels. They are accompanied by ushers who give them instructions and then they are left to face the experience,” director el-Moutaz Bel’ah told The Egyptian Gazette.
The director worked for four years on research, designing and writing to create this unique performance and it took a year for him to find the place that would suit his play.
“We chose a haunted place down-town. We gave the audience torches and hospital bracelets so they would not be far from the metamorphosis. We are all in danger,” he said.
The performance tackles the idea of the human and his existence in the world, through the three characters, the father, the mother and the daughter, who are spending their time in depression, awaiting death.
Each one of the characters, performed by Sarah Khalil, Nourhan Saleh and Ahmed el-Sharkawy, is in a different stage of metamorphosis.
“The daughter is an early stage and still fights for humanity. She keeps curing herself and powdering her face to reduce the effect of the transformation. She is still psychologically deformed because she is aware of what is happening around her, just like those who have a cause.
“The mother is in a middle stage of metamorphosis. She is obsessed by media, she has a TV set that shows nothing all the time. She is in a middle stage without a specific character.
“The father is in the extreme stage of metamorphosis. He is half human,half animal. He is not aware of anything around him,"the director said.
For the director, most of the people are mutants – each one has faults which he hides. In his characters, the director exaggerated these faults to make them more expressive.
“If you walk in the street or read the news, you will see much more deformed people than my characters.There are people who kill each other, rape a child and kill her. They are zombies, not people. They need their hidden deformation to appear on their faces,” he said.
“That’s how I see the modern human-being. We are deteriorating. This deterioration changes us to anything. Maybe we become animals or just ‘something’, which is not an animal or an insect. I feel my characters are real. I see them in real life," he said.
“I know that the performance may be gloomy, but this is how I envision the end of the world,” he said.
The body of a large slaughtered animal hangs at the centre of the stage. The body raises questions. What is this ?Why is it left unused? is it in the final stage of metamorphosis?
“It could be one of the family members who reached the final stage and due to his full transformation they dealt with him as a full animal (and slaughtered him)," said the director who also wrote the text of the play.
Through their dull, quiet waiting, the three characters live in the place which keeps collapsing as from time to time parts of the house break down.
“It is just like reality. Life keeps collapsing and we don’t do anything but watch," said the director who is also the scenographer of the play.
The unique character design by el-Moutaz Bel’ah and make-up by Dina Salem were successfully employed to complete the gloomy scene.
At the end of the play, the audience is asked to leave the place which is collapsing. They exit from a door other than the one they entered from.
They, then, feel the air of the capital and return to the hustle and bustle of down-town leaving, behind the 'confronting' experience as if they were reborn. They will continue their life but will retainan awareness of metamorphosis for some time.
BIRMINGHAM, Ala., March 15, 2018 (AP) — The estate of “To Kill a Mockingbird” author Harper Lee has filed suit over an upcoming Broadway adaptation of the novel, arguing that screenwriter Aaron Sorkin’s script wrongly alters Atticus Finch and other characters from the book.
The suit, which includes a copy of a contract signed by Lee and dated about eight months before her death in February 2016, contends Sorkin’s script violates the agreement by portraying Finch, the noble attorney who represents a black man wrongly accused of rape in “Mockingbird,” as someone else in the play.
Filed against the theater company of New York producer Scott Rudin, the complaint cites an interview with the online publication Vulture in which Sorkin was quoted as saying the small-town lawyer would evolve from a racist apologist at the start of the show to become “Atticus Finch by the end of the play.”
Such a change during a play could fit with the character evolution shown between the Pulitzer Prize-winning “Mockingbird” and Lee’s first draft of the novel, finally released in 2015 as “Go Set a Watchman.”
But the lawsuit contends the script would violate the contact by changing Finch and other characters and adding still more people who aren’t in the novel. It asks a judge to enforce a section of the agreement that states the play won’t “depart in any manner from the spirit of the Novel nor alter its characters.”
NORTON (Zimbabwe), March 12 (AFP) — If you’ve ever dreamt of playing alongside Afro-jazz legend Oliver “Tuku” Mtukudzi, just drop into his studio in Zimbabwe and pick up an instrument.
Mtukudzi — one of Africa’s most famous and admired musicians — has an open-door policy at his arts centre in Norton, 50 kilometres west of Harare.
Aged 65 and with more than 60 albums under his belt, the self-taught singer and guitarist says the centre provides a home for all musicians, particularly youngsters who often face disapproval from their parents at home.
Named “Pakare Paye”, which translates as “same old place” in the Shona language, it charges no fees, employs no tutors and follows no curriculum.
“This is not a school,” Mtukudzi told AFP during a break from rehearsals at the sprawling complex of thatched and brick one-storey buildings.
“We don’t deal with education here — we deal with talent. A college says, ‘we will teach you’ but we say ‘you have got it, let’s learn’.”
The husky-voiced Mtukudzi, whose stage name is Tuku, said he started to plan the centre after realizing that the problems he confronted in the 1970s when he began singing still existed.