Jill’s view of the Aix Cathedral. The video clips show how she composes and builds her paintings
Jill Steenhuis is an American painter who loves Cézanne. She lives locally with her family and paints in the master’s footsteps. I love her colourful, impressionist-style work with its exuberant brush-strokes and was fascinated to see these two videos, filmed by her son of his mother hard at work in Le Tholonet, creating oil-paintings of Cézanne subjects. Starting work on a blank canvas is deeply scary, so it is interesting to see how a professional attacks that white space!
http://www.artinprovence.com, Jill’s site, has details of her forthcoming workshops in the countryside near Aix.
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Here is a list of 89 flight destinations from Marseille, a useful link. Continue Reading »
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English-speakers in Aix will have a tough decision to make on Sunday 7th December – go along to see two one-act plays by J.M. Barrie chosen to commemorate the centenary of the 1st World War, or Continue Reading »
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With not one but two Grimaldi babies due at the end of the year, it’ll be all eyes on Continue Reading »
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I had no idea France has a Tree of the Year competition…and am delighted to introduce the winning tree from Provence, a 33 metre-tall, 5 centuries old tilleul or lime-tree which grows on a farm near Banon.
It is on the archaeologically-rich site of an ancient oppidum, an area that later attracted two pilgrimages a year. The tree itself is fed by two nearby springs.
What a fabulous specimen it is! But was it fabulous enough to win the national award of Arbre de l’Année? Continue Reading »
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How well do you know Provence? Would you like to try a new activity locally? Do you need some inspiration for visiting friends and family? If so, the annual ‘Bienvenue Chez Vous’ could help. Over 200 organisations are offering one free entry or experience for every paid ticket, at weekends until 2nd November.
The visits around Aix are mainly Cézanne-themed guided tours but venture farther afield and it gets more interesting and adventure-based. All 6 départements in PACA have offers – map and list here: http://bienvenuechezvous.regionpaca.fr/2014/les-visites
Parapente is one of the experiences offered by ‘Bienvenue Chez Vous’
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This Sunday sees a second play in the series which brings London performances to Aix: ‘A Streetcar Named Desire’ will be transmitted at the Renaissance Hotel in Aix: 2:30, Sunday Oct 19th.
West End play and tea on Sunday in the luxurious Hotel Rennaissance
This has to be the deal of the month!
- Experience live West End theatre with a highly-praised performance by Gillian Anderson
- Enjoy an afternoon in Aix’s glittering new 5* hotel
- Tuck into a top-notch English tea
….all for 25€. To reserve, you must book on line and then print the tickets and bring them along. The hotel cannot print them nor will it have a separate record of the purchase. The website is https://www.weezevent.com/a-streetcar-named-desire
Review from The Guardian follows:
American classics are currently getting a theatrical makeover. We’ve seenA View From the Bridge played as spartan Greek tragedy and The Crucible as a visceral study of a racked community.
Now Benedict Andrews, responsible for a startling Young Vic Three Sisters, gives Tennessee Williams‘s play a radical new twist; and, while there is loss as well as gain, there’s no doubt that Gillian Anderson gives a stellar performance as Blanche DuBois.
Andrews’s big idea is to keep the acting space in perpetual motion. In Magda Willi’s design, the stage is a skeletal rectangle that revolves constantly. The result is that we get a shifting perspective on the home in New Orleans where Blanche, in flight from her Southern past, has come to stay with her sister, Stella, and her unwelcoming brother-in-law, Stanley Kowalski.
At one point, for instance, we are invited to gaze on three simultaneous actions: a card game between Stanley and his boozy mates; a private chat between Blanche and an admirer; and Stella brushing her teeth in the bathroom.
The shifting focus sometimes becomes a distraction and makes the dialogue hard to hear: just as you’re getting into a scene, the characters float out of view. It is more important, I believe, that the play rather than the stage should be moving.
But there are other times when the rotating stage works to the play’s advantage. In the scene where Stanley overhears Blanche condemning him as an animal with something sub-human about him, we get a sudden close-up of him and a vivid idea of the rancour the statement breeds. More explosively, we also get an intimate glimpse of the passionate love-making between Stella and Stanley after they have engaged in one of their periodic domestic rows.
However, the real test of any production of Williams’s play is whether it allows you to see each character’s point of view. If Blanche is simply played as a cracked Southern belle and Stanley as a coarse brute, the play descends into melodrama. But here Gillian Anderson captures both Blanche’s airy pretensions to grandeur and her desolate loneliness. Her Blanche is a deeply sensuous, tactile woman whose natural instinct is to stroke Stanley’s hairy forearms or to provocatively disrobe in front of a flimsy curtain. But Anderson also conveys Blanche’s emotional solitude: she is especially fine in the scene with her nervous beau, Mitch, where you sense two helpless people desperately reaching out to each other.
Ben Foster equally plays Stanley as a deeply physical man whose natural instinct when crossed is to lash out. There is something dangerous about this sweaty, tattooed, close-cropped Stanley who has recently been discharged from the military and who has not lost his combative instinct. At the same time, you understand his refusal to be patronised and insulted by his affected sister-in-law. And there is a first-rate performance from Vanessa Kirby as Stella: a loving, straightforward woman whose first loyalty is to Stanley but who finds herself becoming a reluctant battle-zone in which the other characters wage their war.
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