The Friday Arts Diary

Our cultural picks for the week ahead.

Music

Café Oto, London E8 – Evan Parker, John Edwards and Eddie Prevost, 7 August

Evan Parker, Eddie Prevost and John Edwards launch their new trio CD – the first release in Eddie Prevost’s Meetings with Remarkable Saxophonists series. Legendary British saxophonist Evan Parker’s trademark sound is filled with circular breathing and multiphonics, stretched over trance-like lines. He has fuelled the free music scene since the 1960s, both here as well as through his European wanderings – famously contributing to Peter Brötzmann’s 1968 Machine Gun session. Parker is joined by the formidable technicians, bassist John Edwards and percussionist Eddie Prevost (founder of AMM), who have long pushed the boundaries of the musical imagination.

Theatre

Noël Coward Theatre, London WC2 – Julius Caesar, 8 August – 15 September

The RSC’s new production of Julius Caesar is transferred to the Noël Coward Theatre this August as part of the World Shakespeare Festival. Newly appointed RSC Artistic Director Gregory Doran shifts Shakespeare’s political thriller to post-colonial sub-Saharan Africa, acquiring dark contemporary undertones. The company includes Jeffery Kissoon as Caesar, Paterson Joseph as Brutus and Cyril Nri as Cassius.

Talk

Queen Elizabeth Hall, London SE1 – Marina Abramovic: The Lecture For Women Only, 5 August

Performance artist Marina Abramovic has designed her latest project, The Lecture For Women Only, entitled The Spirit In Any Condition Does Not Burn, for an exclusively female audience. The gendered format comes as an attempt to explore concepts of femininity and men are not being admitted to the auditorium. Abramovic, most famous for her 736 hour MoMA retrospective The Artist is Present, is hosting the lecture as part of Antony Hegarty’s 2012 Meltdown festival.

Art

Tate Modern, London SE1 – Tania Bruguera: Immigrant Movement International, 7 – 15 August

Cuban artist Tania Bruguera arrives at the Tanks at Tate Modern, a new space devoted to live art, to take up a three week residency for her art project Immigrant Movement International. Bruguera’s work aims to be an artist-initiated socio-political force exploring the nature of citizenship and values shared by immigrants. Lawyers, politicians and member of the public are drawn into debates around the immigrant experience today.

Film

Purcell Room, London SE1 – Diamanda Galás: Schrei 27, 3 August

Diamanda Galás’s film Schrei 27 - an emotive and critical exploration of the torture of an individual in isolation - produced with director David Pepe, was premiered in 2011. Here Galás gives a lecture on her work as an activist and artist, followed by a screening of Schrei 27.
 

Evan Parker plays at Cafe Oto (Photo: Andy Newcombe)
Photo: Getty
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Oliver Stone on interviewing Vladimir Putin: "There are two sides to every story"

The director says his conversations with the Russian president, like all of his works, speak for themselves.

“You’re going to start with this blogging bullshit?” Oliver Stone raises his voice at a reporter, a look of fury on his face.

The director has been asked about the veracity of a video shown to him by the Russian president in his recent Showtime series, The Putin Interviews. The hapless Norwegian journalist who is asking the question notes that bloggers have taken exception to the footage’s true provenance.

What bloggers think of Stone's work, however, is clearly of no consequence to him. When another journalist asks if he’s afraid to be seen as Vladimir Putin’s "PR guy", though, he erupts. 

“Do you really think I’m going to go and spend two years of my life doing a tourist guide book? You really think I’m that kind of a filmmaker? Do you have no respect for my work?”

Stone is on fiery form at Starmus science and music festival in Trondheim, Norway. His series on Putin was filmed over two years. The final four hours of footage were cut from an original 19 of recorded interviews, which covered such diverse topics as “Russia in the 1990s and the 2000s, the American expansion of Nato, the American support of terrorism in Central Asia, Syria from his point of view, Ukraine, nuclear arms…”

Critics, however, have termed it a hagiography, and argued it offers Putin a deferential platform to share his view. Others have dismissed Stone as a propaganda poodle. 

Stone counters the criticism: “I researched it, I did the best I could, and I think it proves the old adage that there are two sides to every story.”

Whether because of naivety or professional courtesy, on the face of it, in the interview series the 70-year-old appears to buy into everything Putin tells him. "You catch more flies with honey than with vinegar," is all he'll say at the conference.

Later on, in the calm after the storm, we speak alone. “This was a special deal,” he tells me. “He was very congenial and articulate and willing to talk. He grabbed the moment.

“People need to keep something in mind. They said I was soft on him - that’s nonsense.

“You can’t have an interview where you’re asking hostile questions. He would have just tolerated it and said what he did, and then after that first interview he would have not have done a second or a third.

“I was interested in the long view. Nobody in the West has gone that far with him that I have seen.”

The long view is a speciality of Stone’s, as he reveals with his address at Starmus to a packed auditorium. As befits a science festival, he addresses the development of the atomic bomb and the modern digital arms race of cyber warfare.

In his view, “politics invariably gets a stranglehold on science and takes it in the wrong way”. He cites J Robert Oppenheimer, known as the father of the nuclear bomb, and computer analyst Edward Snowden’s life following his decision to turn whistleblower. 

Stone directed the film Snowden, a task which involved navigating numerous obstacles, including gaining access to the real Snowden, by then in Russia, himself. 

“Science gets slaughtered by politics,” he tells me.

In the shadow of the criticism on the Putin front, he admits that from an American perspective, for him to become involved with Snowden was, well… “beyond the pale". 

But despite – or perhaps because of – the Academy Award-winning director’s commitment to the truth, he’s not letting go of various facts as he sees them.

“There is no evidence as far as I’m concerned for the Russian hacking allegations,” he says, adding that this was an “assessment” from the US security services which turned into a “farce”.

He has read the detail for himself, he says – and he also appears on film looking like he believes Putin when the president says it’s nothing to do with him.

Back at home, the American domestic political situation has him as appalled as ever. He is critical, not only of Donald Trump, but the system the US president operates in. 

“It seems that the president does not have the power he thinks he has," he says. "You get elected, you think it’s a democracy, but there is this mechanism inside, this Deep State – intelligence agencies, military industrial, the generals, the Pentagon, CIA combined with other intel – which seems to have some kind of inner lock.”

Although Stone places characters at the heart of many of his films, he finds Trump hard to figure out.

“I don’t know what Trump’s mind is like, I think so few people do," he muses. "He says super-patriotic things suddenly like 'I love the CIA, I’m going to really support you, I love the military, I love generals, I love all that beautiful new equipment' – that he sold to Saudi Arabia.

“He also said, and it’s very disturbing, ‘the next war, we’re going to win’. As if you can win a war where you use cyber and nuclear and various weapons. He’s thinking this is a game like a child.

“The purpose of war is not to have one.”

Stone believes – as Trump initially seemed to profess – that Russia will be the chief ally in future for the United States: “They can be great partners in every walk of life, it’s crazy to have them as an enemy."

Nevertheless, he is not as slavish to the official Russian line as many have countenanced.

“I was able to shoot this documentary because of my reputation," he says. Some people say he pulled his punches, I counter.

“Gloves off, gloves on – the truth is, he sees things his way," Stone says. "I’m not there to change his mind, I’m there to show his mind.”

In his view, an observant watcher will learn about Putin just by watching him. "The camera doesn’t lie – the camera tells you things, body language, eyes – you can get a feel sometimes," he says. "I think if you watch all four hours you’ll see that we got an enormous amount of information."

Perhaps those who sit through those four hours will be satisfied that they know more about Putin – or about Stone himself. After all, if the camera doesn't lie, it doesn't lie for anyone.

As I leave the room, Stone raises his voice after me: “Don’t change my words.” He’s smiling broadly as he speaks.

Kirstie McCrum is a freelance journalist. Follow her @kirstiemccrum.

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