Marthinus bassoon biography channel

When he left drama school to study further in London, similar tactics applied. He wrote his first play, Faces in the Wall. And then the problem solving started. Where and how to put it on? Once the theatre was secured, he got writing again, 32 letters, to ask famous people for help. The Duchess of Bedford and Elizabeth Taylor replied, and both sent him pounds, a lot of money at that time with which he bought some old cinema seats to furnish his theatre space.

He invited everyone he knew who had influence for opening night but forgot to ask the critics. The next night no one came, except for two people. He offered them their money back, but they wanted to stay. But when you cut, put it in that box under the bed. Recycle, recycle, recycle. A good idea is always a good idea. Of the 30 plays he wrote, four were not good, he believes.

Text, he believes, is unimportant.

Marthinus bassoon biography channel

It has to be adapted and changed during the work process. And once finished writing, cut what you have written by half and then you lose 50 percent. Navigation menu Personal tools Log in. Namespaces Page Discussion. Views Read View source View history. Navigation Main page Recent changes Help. This page was last edited on 20 Marchat What they do have in common is their strength and here it is the manipulative monster that comes into play as she spins a trap for any man who might find himself in the presence of this formidable yet deceptive mother-and-daughter Tinarie Van Wyk Loots.

While Koningin Lear was shot on stage, this production was transferred to a farm stable at the Worcester Museum. And yet, reflecting on the stage production, Basson clevery created a most realistic stable on stage as well. The cast also includes Stian Bam right as the badly wounded general while the young Edwin van der Walt left has come to check on the wounded warrior left in the care of these seemingly caring women.

Both these plays are challenging, insightful and staged brilliantly with casts that mesmerise. Even with dangerously little time in hand, Basson has managed to transpose these plays from stage to film, giving those of us who feel deprived because of the absence of theatre a chance to see the best. They might not be easy to watch and demand that you have your wits about you to follow the story or just appreciate the juxtaposition of the words, but Via should be celebrated and congratulated for taking the chance.

This is something we should cherish and hope becomes part of our viewing schedule on a more regular basis. I'm an arts journalists who loves writing about anything that captures my heart, moves my soul and creatively surprises and overwhelms me.