Premiul Booker 2005-John Banville

Si iata si Nobelul pentru literatura, anuntat chiar acum: Harold Pinter, bine-cunoscutul dramaturg britanic. Cred ca a bine-meritat premiul care i s-a acordat mai bine mai tarziu decat niciodata.


=================
"- Dubito ergo cogito"
"- Cogito ergo sum"
Descartes

Si premiul Academiei Romane cine l-a luat ?:)
_____________________________________________________
Communication is not just words, communication is architecture.

Corneliu Vadim Tudor sau Adrian Paunescu ? ;)

Asta daca academia romană ar avea un echivalent al premiului Booker, ceva mai apropiat de obiceiurile celor doi, un premiu Bucă !


=================
"- Dubito ergo cogito"
"- Cogito ergo sum"
Descartes

De pe situl Nobel Prize:
Biobibliographical notes

Harold Pinter was born on 10 October 1930 in the London borough of Hackney, son of a Jewish dressmaker. Growing up, Pinter was met with the expressions of anti-Semitism, and has indicated its importance for his becoming a dramatist. At the outbreak of the Second World War, he was evacuated from London at the age of nine, returning when twelve. He has said that the experience of wartime bombing has never lost its hold on him. Back in London, he attended Hackney Grammar School where he played Macbeth and Romeo among other characters in productions directed by Joseph Brearley. This prompted him to choose a career in acting. In 1948 he was accepted at the Royal Academy of Dramatic Art. In 1950, he published his first poems. In 1951 he was accepted at the Central School of Speech and Drama. That same year, he won a place in Anew McMaster's famous Irish repertory company, renowned for its performances of Shakespeare. Pinter toured again between 1954 and 1957, using the stage name of David Baron. Between 1956 and 1980 he was married to actor Vivien Merchant. In 1980 he married the author and historian Lady Antonia Fraser.

Pinter made his playwriting debut in 1957 with The Room, presented in Bristol. Other early plays were The Birthday Party (1957), at first a fiasco of legendary dimensions but later one of his most performed plays, and The Dumb Waiter (1957). His conclusive breakthrough came with The Caretaker (1959), followed by The Homecoming (1964) and other plays.

Harold Pinter is generally seen as the foremost representative of British drama in the second half of the 20th century. That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: "Pinteresque".

Pinter restored theatre to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of each other and pretence crumbles. With a minimum of plot, drama emerges from the power struggle and hide-and-seek of interlocution. Pinter's drama was first perceived as a variation of absurd theatre, but has later more aptly been characterised as "comedy of menace", a genre where the writer allows us to eavesdrop on the play of domination and submission hidden in the most mundane of conversations. In a typical Pinter play, we meet people defending themselves against intrusion or their own impulses by entrenching themselves in a reduced and controlled existence. Another principal theme is the volatility and elusiveness of the past.

It is said of Harold Pinter that following an initial period of psychological realism he proceeded to a second, more lyrical phase with plays such as Landscape (1967) and Silence (1968) and finally to a third, political phase with One for the Road (1984), Mountain Language (1988), The New World Order (1991) and other plays. But this division into periods seems oversimplified and ignores some of his strongest writing, such as No Man's Land (1974) and Ashes to Ashes (1996). In fact, the continuity in his work is remarkable, and his political themes can be seen as a development of the early Pinter's analysing of threat and injustice.

Since 1973, Pinter has won recognition as a fighter for human rights, alongside his writing. He has often taken stands seen as controversial. Pinter has also written radio plays and screenplays for film and television. Among his best-known screenplays are those for The Servant (1963), The Accident (1967), The Go-Between (1971) and The French Lieutenant's Woman (1981, based on the John Fowles novel). Pinter has also made a pioneering contribution as a director.


--------------------------------------------------
All you need is ignorance and confidence and the success is sure.
Mark Twain

hahahahahha:)
Vadim Tudor ar fi putut fi poetul anului, dar de cand i-a murit muza (Lenuta) nu mai are cui sa dedice ode.
_____________________________________________________
Membra SIMC - Securitatea Inchizitoriala Mister Cafenea

Am cautat in mod special pentru tine- :)), se pare ca nu exista premiile Academiei, dar exista premiul Prometheus -amanunte, in articolul de mai jos, preluat din Cotidianul.


"Paul Bortnovski a luat miliardul

Cele mai consistente distinctii acordate in cultura romaneasca, Marile Premii Prometheus oferite de fundatia Anonimul, au fost decernate miercuri seara, la clubul Prometheus, de catre juriul prezidat de Andrei Plesu.

Andrei Plesu a tinut sa precizeze, inca de la inceput, ca juriul constituit din Mircea Martin (sectiunea literatura), Marina Constantinescu (artele spectacolului), Ada Brumaru (muzica), Mihai Oroveanu (arte plastice) a avut o sarcina extrem de grea, trebuind sa aleaga intre personalitati culturale care cu greu ar putea fi ierarhizate.

Plesu a intrat in „forma" lui Oroveanu

Fiecare dintre membrii juriului a explicat alegerea pe care a sustinut-o in „finala", atit la premiul pentru debut, „Opera Prima", cit si la distinctia pentru intreaga activitate, „Opera Omnia". Mai putin Mihai Oroveanu, plecat la Tirgul de la Frankfurt si in a carui „forma" a trebuit sa intre Andrei Plesu, cum plastic s-a exprimat rectorul Colegiului Noua Europa.

Majoritatea nominalizatilor la sectiunea „Opera Prima" au lipsit de la premiere, fie din motive medicale, fie pentru ca erau plecati la studii in strainatate. Astfel ca premiul pentru debut, in valoare de 100 de milioane de lei vechi, acordat tinerei compozitoare Diana Rotaru, a fost primit de mama acesteia, Doina Rotaru, la rindul sau o bine cunoscuta compozitoare.

Juriul a trebuit sa-l aleaga apoi, la categoria „Opera Omnia", pe cel care urma sa primeasca premiul de 1 miliard de lei vechi. Competitia a fost strinsa, intre scriitorul Constantin Toiu, artista plastica Geta Bratescu, muzicianul Aurelian Octav Popa si scenograful Paul Bortnovski.

Acesta din urma, descris de Marina Constantinescu drept „un nume care a marcat partea a doua a secolului XX, un ctitor, un fondator de scoala de arhitectura si de scenografie intr-o impletire cum numai la Liviu Ciulei am mai intilnit, probabil" a si devenit fericitul posesor al trofeului Prometheus „Opera Omnia".

Extrem de emotionat, reputatul scenograf si arhitect ne-a declarat ca premiul a fost intr-adevar o mare surpriza: „Nu mi-am putut imagina ca voi cistiga. De aceea nici nu m-am gindit ce voi face cu banii", a marturisit el. (B.P.) •

--------------------------------------------------
All you need is ignorance and confidence and the success is sure.
Mark Twain