Robert Butler

  • STOPPARD'S BRAIN WEIGHS IN

    ~ Posted by Robert Butler, January 29th 2015

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  • VAN GOGH: MODESTY AND MINERS

    ~ Posted by Robert Butler, January 27th 2015

    “Blessed is he who has found his work”, wrote the Victorian moralist Thomas Carlyle. At 25, Van Gogh had lost his job at an art dealers, given up teaching, given up working in a bookshop and given up theological studies. Added to that, he had been turned down for one job preaching to miners in Britain and another job preaching to miners in Belgium. Nevertheless, in 1878 he went to the Belgian coal mines.

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  • THE ATOMIC BOMB ON STAGE

    ~ Posted by Robert Butler, January 23rd 2015

    When the atom bomb eventually goes off in Tom Morton-Smith's new play, "Oppenheimer"—which opened at Stratford's Swan Theatre last night—it's followed by drunken celebrations. We're in the desert in New Mexico, where a bunch of physicists are lying in the sand wearing army uniforms and black goggles (above). The explosion itself is a blackout and a slow deep rumble, but the lights swiftly come up on frenetic dancing at a party. Soon after, we hear an appalling description of what happens when the detonation is repeated over the city of Hiroshima. If the play veers unpredictably in tone in the summer of 1945, losing its earlier assurance, that is no surprise: there can be few bigger challenges, in terms of dramaturgy, than introducing a weapon that kills over 100,000 people.

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  • ORWELL'S WORLD

    Top 12 of 2014. No.10: it is now 65 years since George Orwell died, and he has never been bigger. His phrases are on our lips, his ideas are in our heads, his warnings have come true. How did this happen? By Robert Butler

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  • RAPT BY HEATH ROBINSON

    ~ Posted by Robert Butler, December 19th 2014

    When you visit Derby Museum for the first time (as I did yesterday morning) and stand in front of its most famous painting, "The Orrery" by Joseph Wright of Derby, what’s immediately striking is not the partly obscured model of the solar system, and the way the painting—whose full title is “A philosopher lecturing on the Orrery”—illustrates the enormous excitement around 18th-century ideas about astronomy. What’s striking is the depth of concentration on the lamp-lit faces of the adults and children. They are seeing how something actually works. It's fitting, then, that until next March the museum is exhibiting other extraordinary examples of how things work: 30 illustrations by Heath Robinson, who did so much to satirise the Edwardian mania for machines.

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  • THE POWERFUL ANTI-THEATRE OF 2071

    ~ Posted by Robert Butler, November 7th 2014

    I’ve heard the climate scientist Chris Rapley speak many times. Seven years ago I interviewed him for this magazine (when he told me Sherlock Holmes would have quickly grasped the evidence) and, since then, I've heard him at conferences, in lecture halls, on panels and at dinners. Last night he appeared on the Royal Court stage, delivering a 75-minute monologue entitled “2071”—the year his eldest grandchild will be the same age, 67, as he is now. Here was a Rapley I’d never seen.

    A professor of climate science at UCL, the former head of the British Antarctic Survey and the former director of London's Science Museum, the Rapley I know is a busy, bustling figure, who appears at the lectern with smiling flourishes and an air of importance, and then turns frequently from the laptop on the lectern to the large screen behind as he works his way through a PowerPoint presentation. On the way in last night, I’d readied myself for the graphs where lines run along the bottom axis for most of the page and then suddenly shoot up at an exponential rate at the right-hand edge; maps of the world where the parts getting hotter now appear in lurid red and orange; and those pairs of black-and-white photos of the Antarctic which show how much ice there was only a few years ago and how much less there is now.

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  • CHEKHOV'S TRAGI-COMIC COLLISION

    Notes on a Voice: Robert Butler pinpoints a prose style as comfortable with fly-ridden grime as champagne and chandeliers

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  • ZINGERS ABOUT PHONE-HACKING

    ~ Posted by Robert Butler, July 1st 2014

    The man in front of me, on the way in to see "Great Britain"—Richard Bean's raucous new satire about newspapers and phone-hacking—was the playwright Howard Brenton. In the mid-80s he had co-written (with David Hare) the defiant Fleet Street satire "Pravda". Following behind us was Tom Stoppard, who in the late-70s had written his own astute account of the fourth estate, "Night and Day". Last night's first night was also notable for the number of seats taken by people with a professional interest in the play. A few rows in front sat Nick Davies, the Guardian reporter who had done more than anyone else to expose phone-hacking.

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  • THE NIGHT SKY ON TWO LEVELS

    ~ Posted by Robert Butler, April 4th 2014

    When Eleanor Catton gives talks in public, which she did at the Union Chapel in London on Thursday night (and which she's been doing much more often since winning the Man Booker prize), she doesn't mention her mum. She knows her mum would hate that sort of thing. But she does mention her dad—which is how we know that he gave her a theme and an all-important link.

    Catton was talking to Robert Macfarlane, chair of the judges who last October awarded her the prize, in front of an audience of 750, plenty of whom were twice her age. During the time when she was writing "The Luminaries", she said, her dad, who was a lecturer in philosophy, was becoming increasingly dismayed by the "corporatisation" of his university (students were rebranded as "customers") and eventually he resigned. One of the major themes of her huge second novelwhich depicts the gold rush in New Zealand in the 1860sis "the capitalisation of the world".

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  • THE SHORT STORY IS IMPOSSIBLE

    ~ Posted by Robert Butler, March 28th 2014

    The short story is a bullet. The short story is a bomb. The short story is a core sample which—if the writer has the sensitivity and ability to be glancing—can tell you as much about a world and a society as a geologist learns from a sliver of ice. Whichever image you go for, the short story has to combine the qualities of good prose and good poetry. Every word has to count. It has to be intense. It's the opposite of the kind of chat you hear at parties.

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