28/01/2020 § Leave a comment
Læs Laura Luise Schultz‘ artikel i Standart, hvor hun skriver om at oversætte Stein.
21/01/2020 § Leave a comment
One must have an introduction.
Karen Chernick in Artsy on
13/01/2020 § Leave a comment
originally published by Servire Press, February 19335
“Miss Gertrude Stein’s memoirs, published last year under the title of Autobiography of Alice B. Toklas, having brought about a certain amount of controversial comment, Transition has opened its pages to several of those she mentions who, like ourselves, find that the book often lacks accuracy. This fact and the regrettable possibility that many less informed readers might accept Miss Stein’s testimony about her contemporaries, make it seem wiser to straighten out those points with which we are familiar before the book has had time to assume the character of historic authenticity. To MM. Henri Matisse, Tristan Tzara, Georges Braque, André Salmon we are happy to give the opportunity to refute those parts of Miss Stein’s book which they consider require it.
These documents invalidate the claim of the Toklas-Stein memorial that Miss Stein in any way concerned with the shaping of the epoch she attempts to describe. There is a unanimity of opinion that she had no understanding of what really was happening around her, that the mutation of ideas beneath the surface of the more obvious contacts and clashes of personalities during that period escaped her entirely. Her participation in the genesis and development of such movements as Fauvism, Cubism, Dada, Surrealism, Transition etc. was never ideologically intimate and as M. Matisse states, she has presented the epoch “without taste and without relation to reality.”
The Autobiography of Alice B. Toklas, in its hollow, tinsel bohemianism and egocentric deformations, may very well become one day the symbol of the decadence that hovers over contemporary literature.”
19/08/2019 § Leave a comment
As announced at the Perdu Amsterdam Symposium in April the radio opera What Happened / Plays with a libretto by Adam Frank adapted from Gertrude Stein’s first play What Happened and excerpts from her lecture Plays and with music composed by Samuel Vriezen had its world premiere in Paris on June 26th 2019. The performance was by Aurélie Nyirabikali Lierman and Ensemble Dedalus. A full recording of the performance is now out on Soundcloud for all of us to enjoy!
20/06/2019 § Leave a comment
Inspired by Sol León and Paul Lightfoot‘s choreography, Tim Elfring – intern for the symposium arranged recently by the Gertrude Stein European Network in Amsterdam, and a Masters student in Literature Today at the Universiteit Utrecht – has composed a drums accompaniment to Stein’s recording of “If Told Him: A Completed Portrait of Picasso.” This is a whole new way of researching and thinking about modernist prosody.
Check out his fantastic performance via video.
02/06/2019 § Leave a comment
Som en del af 30-dages performance-arrangementet Stedet er levende kurateret af Sara Hamming og Lukas Racky vil Laura Luise Schultz, Tania Ørum, Oscar Sjøgren og Solveig Daugaard præsentere oplæsning af et udvalg af Gertrude Steins skuespil, fra den nyligt udkomne danske oversættelse, Stykker til at spille. Desuden vil Laura Luise Schultz introducere til Steins teateræstetik
Det er torsdag d. 13. juni fra kl. 20 i Astrid Noacks Atelier, Rådmandsgade 34, det er gratis og alle er velkomne!
Håber vi ses.
Se hele programmet på Astrid Noacks Ateliers hjemmeside
26/04/2019 § Leave a comment
Is it now for eight years that we in the Danish Gertrude Stein Society have been reading Stein’s infamous The Making of Americans? Something like it. We have done it in different ways. On April 11th we met five people around a table – Morten Søndergaard visiting from Italy, Adam Zdrodowski from Poland, along with Solveig Daugaard, Kamilla Löfström and Martin Glaz Serup from around the corner in Copenhagen – and simply started to read aloud. We started on the Martha Hersland-chapter, page 268 in the edition most of us use, and read and talked about a few happy pages. It’s the chapter that starts with I am writing for myself and strangers…
I am writing for myself and strangers. This is the only way that I can do it. Everybody is a real one to me, everybody is like some one else too to me. No one of them that I know can want to know it and so I write for myself and strangers.