Uitskrop

Venesië is die stad van maskers. Die Karnaval van Maskers (Carnevale di Venezia) vind elke jaar kort voor Pase in die Italiaanse stad plaas. Daar word oral gefuif in kleurryke kostuums en kunstige maskers, en die mooiste masker word aangewys deur ʼn paneel van kunstenaars en ontwerpers.

Volgens oorlewering het die karnaval in 1162 begin ná die militêre sege van die Venesiese Republubliek oor die patriarg van Aquileia, Ulrico di Treven. Ter viering van die oorwinning het mense begin dans en vergader in San Marco-plein. Tydens die Renaissance het die karnaval ʼn instelling geword. Dit was allermins ʼn religieuse fees, en plesier en losbandigheid is aangemoedig, met burgers se gesigte versteek agter maskers om hul identiteit te beskerm. In 1797 is dié barokfees en die dra van maskers verbied onder heerskappy van die Heilige Romeinse Keiser en later ook die Keiser van Oostenryk, Francis II. In die 19de eeu het die fees geleidelik weer ʼn verskyning gemaak tydens private partytjies.

In 1979 het die karnaval in sy volle glorie teruggekeer as part end eel van Italiaanse kultuurgeskiedenis, wat toeriste van alle wêrelddele gelok het.

In 2020, die jaar van kliniese maskers, is die Karnaval van Maskers afgestel. Italië is een van die eerste lande wat swaar deur die Covid-19 pandemie getref is. Die betekenis van maskers het in etlike maande aansienlik verander.

No man, for any considerable period, can wear one face to himself and another to the multitude, without finally getting bewildered as to which may be the true.  Nathaniel Hawthorne

Don’t you know that a midnight hour comes when everyone has to take off his mask? Do you think life always lets itself be trifled with? Do you think you can sneak off a little before midnight to escape this? Søren Kierkegaard

I believe in my mask. The man I made up is me. I believe in my dance. And my destiny. Sam Shepard

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Gemaskerde vryheid

Anonimiteit en openhartigheid is verrassende resultate van masker dra.   

“Masquerades disclose the reality of souls. As long as no one sees who we are, we can tell the most intimate details of our life. I sometimes muse over this sketch of a story about a man afflicted by one of those personal tragedies born of extreme shyness who one day, while wearing a mask I don’t know where, told another mask all the most personal, most secret, most unthinkable things that could be told about his tragic and serene life. And since no outward detail would give him away, he having disguised even his voice, and since he didn’t take careful note of whoever had listened to him, he could enjoy the ample sensation of knowing that somewhere in the world there was someone who knew him as not even his closest and finest friend did. When he walked down the street he would ask himself if this person, or that one, or that person over there might not be the one to whom he’d once, wearing a mask, told his most private life. Thus would be born in him a new interest in each person, since each person might be his only, unknown confidant.”
Fernando Pesoa,  Portugese digter, skrywer, uitgewer en filosoof

SKROP is ‘n aanlyn-publikasie oor goeie boeke, vermaak, kuns en kos.

Wie is ons

Redakteur Johannesburg:
Schalk Schoombie
Redakteur Pretoria:
Deborah Steinmair
Redakteur Uiteet:
Kobus Burger
Redakteur Vermaak:
Paul Boekkooi
Redakteur Kuns:
Johan Myburg
Redakteur Kaapstad:
Mariana Malan
Webbladontwerp:
Marselé Prinsloo
Kunstenaar:
Alisa Rebel

COVID-19 Corona Virus South African Resource Portal

Emergency Hotline:
0800 029 999

WhatsApp Support Line:
0600 123456

The deployment of robots as a response to the coronavirus was rapid. They were suddenly cleaning floors at airports and taking people’s temperatures. Hospitals and universities deployed Sally, a salad-making robot created by tech company Chowbotics, to replace dining-hall employees; malls and stadiums bought Knightscope security-guard robots to patrol empty real estate; companies that manufacture in-demand supplies like hospital beds and cotton swabs turned to industrial robot supplier Yaskawa America to help increase production. Companies closed call centres employing human customer-service agents and turned to chatbots created by technology company LivePerson or to AI platform Watson Assistant. “I really think this is a new normal – the pandemic accelerated what was going to happen anyway,” says Rob Thomas, senior vice president of cloud and data platform at IBM, which deploys Watson. Roughly 100 new clients started using the software from March to June.

Fewer Jobs, More Machines by Alana Semuels, Time, August 17 – 24, 2020

The old nun rose at dawn, feeling pain in every joint. She’d been rising at dawn since her days as a postulant, kneeling on hardwood floors to pray. First she raised the shade. That’s creation out there, little green apples and infectious disease. Then she knelt in the folds of the white nightgown, fabric endlessly laundered, beaten with swirled soap, left gristled and stiff. Sister Alma Edgar. And the body beneath, the spindly body she carried through the world, chalk pale mostly, and speckled hands with high veins, and cropped hair that was fine and flaxy gray, and her bluesteel eyes – many a boy and girl of old saw these peepers in their dreams.

Underworld by Don DeLillo, Picador, 1998

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In die begin

Openingsparagrawe

Vermaak

Schalk Schoombie resenseer die riller Calibre en die dokkie American Murder: The Famiy Next Door; Kobu Burger resenseer die reeks Defending Jacob; Die 10 beste Shakespeare flieks

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Encore

Mariana Malan skryf oor die dramaturg Louis Viljoen se nuwe solostuk en die Suidoosterfees; Paul Boekkooi resenseer die CD Trio Les Esprits 

Kuns

Johan Myburg skryf oor die uitstalling  Majak Bredell – The New York Years 1981-2003; Mariana Malan skryf oor die unieke kunsfees op Riebeek-Kasteel

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Kos

Kobus Burger bestel lekkernye by The Little Deli, Linden

Kortstories

Ontkiem deur Jopie de Waal; Skryf in vir ons nuwe Kortstoriewedstryd

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