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Eric McCandless/ABC, via Getty Images For 40 years, contestants on “Wheel of Fortune,” the TV game show staple, have hoped to reach the final puzzle, called the bonus round. A correct guess can mean a new car, $40,000 or even $1 million. Pat Sajak, who will retire as host after this season, has also remained […] More
Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicA few weeks ago, Jung Kook — a member of the world-beating K-pop group BTS — released his solo debut album, “Golden,” a sleek affair notable for high-profile collaborators on its tracks and behind the scenes, as well as for the fact that it’s sung fully in English.That’s a logical extension of the shift undertaken by BTS beginning in the late 2010s and into the early 2020s, when it became the biggest pop act in the world, and focused its energies on the American marketplace. But it also is part of a longer story about how K-pop has been expanding its global reach, which has in turn altered the priorities of some of its biggest stars and record labels.On this week’s Popcast, a conversation about K-pop’s long march to American awareness and embrace, the earlier acts that began making inroads with American pop audiences, and whether there’s a point at which K-pop delivered fully in English ceases to be K-pop at all.Guest:Kara, host of the Idol Cast PodcastConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More
In 50 years, rap transformed the English language, bringing the Black vernacular’s vibrancy to the world. “Dave, the dope fiend shootin’ dope.” — Slick Rick, “Children’s Story” (1988) “Dopeman, dopeman!” — N.W.A, “Dope Man” (1987) Did you ghost me? 👻 Read 10:28 PM Homer Simpson going ghost. We unpacked five words — dope, woke, cake, […] More
The Avignon Festival’s new director wants to spotlight drama in a different language each year. This year’s first installment had some conventional choices.As soon as the Portuguese director Tiago Rodrigues took over at the Avignon Festival, France’s biggest theater event, he announced a symbolic move: Under his direction, there would be a special focus on a different language every year, starting, this summer, with English.There was wincing from some quarters: To many in France, English is already far too culturally dominant. In the end, they needn’t have worried. Of several dozen productions in the official lineup of this year’s festival, which runs through July 25, only six plays are predominantly in English.As a result, Avignon, which has long welcomed shows from a wide range of cultures, hasn’t felt much different this year. If anything, Rodrigues’s Anglo-Saxon choices seem a tad timid. Focusing on a language, rather than a country, could have opened the door to Anglophone theater from underrepresented regions. Instead, five productions came from British directors, two of whom, Tim Etchells and Alexander Zeldin, are already well-established in France.A few novelties are still to come, including work from London’s Royal Court Theater, which is largely unknown across the Channel. So far, however, the most intriguing discovery has been the sole American entry, “Baldwin and Buckley at Cambridge,” from Elevator Repair Service. This verbatim recreation of a 1965 debate between James Baldwin and William F. Buckley Jr., about race in the United States, is spare and meticulous. From tables on opposite sides of the stage, Greig Sargeant (Baldwin) and Ben Williams (Buckley) spar with effective solemnity.The fact that Elevator Repair Service is widely described as “experimental” in its home country may amuse some French festivalgoers: “Baldwin and Buckley at Cambridge” is fairly buttoned-up by local standards. Only the short final scene, which sees Sargeant and April Matthis, as the playwright Lorraine Hansberry, break character and touch on racial dynamics in the making of a previous Elevator Repair Service production, feels truly biting.Catherine Dagenais-Savard in “Marguerite: The Fire,” which pays tribute to Marguerite Duplessis, who, in 1740, was one of the first enslaved people to be heard by a Canadian court.Christophe Raynaud de LageAnother North American production at Avignon is performed in French: “Marguerite: The Fire,” by the Québec-based Indigenous writer and director Émilie Monnet. It, too, touched on the history of racism by way of a little-known historical figure, Marguerite Duplessis. In 1740, Duplessis was one of the first enslaved people to be heard by a Canadian court, after she claimed she had been born a free woman.Together with three other performers, Monnet pays tribute to Duplessis in a production that has high points — including evocative choral and dance numbers — but feels overly linear, its text well-meaning yet monotonous. Like “Baldwin and Buckley at Cambridge,” “Marguerite: The Fire” also unwittingly plays into a French national sport: deploring North American racism while struggling to recognize it closer to home.In the French portion of the lineup, meanwhile, some directors also got involved in the Anglo-Saxon focus by adapting the work of English-speaking authors. Pauline Bayle, a rising star who was appointed to lead the Montreuil Theater last year, boldly took on Virginia Woolf. Unfortunately, the result, “Writing Life,” is strangely shapeless.The cast awkwardly veer between peppy contemporary digressions and bits and pieces lifted from Woolf’s works. One minute, they mention the threat of an imminent, pandemic-style lockdown, and engage in slightly forced interactions with three rows of audience members. The next, they grapple with Woolf’s intricate style, which comes across as bombastic by contrast.“Writing Life” at least came with English surtitles for non-French speakers — a welcome development for the Avignon Festival. While select productions already came with an English translation under the previous director, Olivier Py, Rodrigues has made it the default to appeal to more international visitors.The cast of “The Garden of Earthly Delights” is wheeled into the venue, a former quarry, by bus.Christophe Raynaud de LageThere were a handful of exceptions, not least Philippe Quesne’s “The Garden of Earthly Delights,” accessible only to French speakers. It’s a shame, because the production marked the reopening of a legendary Avignon venue: the Boulbon quarry, a majestic natural spot outside the city. It was last used in 2016, not least because of its eye-watering running costs: Fire safety precautions alone ended up costing 600,000 euros, or $670,000, this year.“The Garden of Earthly Delights” proved a loving reintroduction to Boulbon. In it, members of an eccentric, hippie-adjacent community are wheeled into the quarry by bus. They carefully lay a giant egg down in the middle of the vast space, and perform amusingly absurd rituals around it. Some recreate poses from paintings by Hieronymus Bosch; others deliver wacky poems or monologues. Even if you spoke the language, it didn’t fully make sense, but it felt at home against Boulbon’s arid, otherworldly backdrop.For English-speaking visitors, however, one major part of Avignon remains difficult to access: the Fringe, known as “le Off.” With nearly 1,500 shows on offer in small and big venues all around the city, it dwarves the official lineup, but very few productions offer English versions or surtitles.If you look closely enough, though, there are some opportunities to hang with the French crowds at “le Off.” A handful of venues offer surtitles on select days, like the Théâtre des Doms with “Méduse.s,” a well-crafted feminist reinterpretation of the mythical figure of Medusa by the Belgian company La Gang.Some performers find other ways to bridge the gap with English speakers. On Mondays during the festival, the French writer and performer Maïmouna Coulibaly, who currently lives in Berlin, performs her one-woman show “Maïmouna – HPS” in English at the Théâtre de la Porte Saint Michel. It’s a no-holds-barred exploration of her relationship to her body, including her traumatic circumcision as a child and her adult sex life. The back-and-forth between the two experiences induces a little whiplash, but Coulibaly brings galvanizing energy to the stage.Charlotte Avias and Camille Timmerman in “Punk.e.s,” which tells the story of the first all-female punk band, the Slits.Arnaud DufauAnd some French shows barely need translating. Justine Heynemann and Rachel Arditi’s “Punk.e.s,” at La Scala Provence, dives into the story of the first major all-female punk band, the Slits, with such chutzpah that, by the final musical number at a recent performance, quite a few audience members were on their feet.Charlotte Avias, especially, gives a manic pixie punk performance to remember as the Slits’ lead vocalist Ari Up, and Kim Verschueren, a powerful singer, finds shadowy nuance in the role of Tessa Pollitt. The set list — which cycles through the Beatles, the Clash and the Velvet Underground — could have used even more Slits songs, but “Punk.e.s” is a reminder that French artists have long taken inspiration from their Anglo-Saxon counterparts.There’s a way to go to before language differences don’t prove a barrier for theater. Still, the Avignon Festival is increasingly doing its part. More
The 31-year-old playwright received the honor for her first produced play, “English,” about a language test-prep class in Iran.Sanaz Toossi had just cleared security at the San Francisco airport when her cellphone rang at midday Monday. It was her agent, telling the 31-year-old playwright she had won the Pulitzer Prize in drama for “English,” her first produced play.Toossi, who had written the play as a graduate school thesis project at New York University, was in disbelief. “I asked, ‘Are you sure?’ And when she said, ‘Yes,’ I said, ‘Could you please just double-check?’”The prize was real, and as Toossi boarded the plane home to Los Angeles, her phone began buzzing with congratulatory messages not only from around the United States, but also from Iran, where her parents were born and where the play is set.“English,” which Off Broadway’s Obie Awards recently named the best new American play, is a moving, and periodically comedic, drama about a small group of adults in Karaj, Iran — the city where Toossi’s mother is from — preparing to take the Test of English as a Foreign Language. The Pulitzers called it “a quietly powerful play,” and said of the characters that “family separations and travel restrictions drive them to learn a new language that may alter their identities and also represent a new life.”The play was originally scheduled to be staged at the Roundabout Underground in 2020 but was delayed by the coronavirus pandemic; it instead had a first production last year at the Atlantic Theater Company in New York, co-produced by Roundabout. It has since been staged in Boston, Washington, Toronto, Montreal and Berkeley, Calif., with productions planned in Atlanta, western Massachusetts, Seattle, Chicago and Minneapolis. (Toossi was in the Bay Area this week to attend the closing performance at Berkeley Repertory Theater.)The Pulitzers called “English,” about a small group of adults in Karaj, Iran, “a quietly powerful play.”Sara Krulwich/The New York TimesToossi, who was born and raised in Orange County, Calif., spoke Farsi with her family at home and English outside the home, and she visited Iran regularly while growing up. In a telephone interview on Tuesday, she talked about “English” and the Pulitzer win. These are edited excerpts from the conversation.How did the idea for “English” come to you?I guess I wrote this play out of rage for the anti-immigrant rhetoric that was, and is, so pervasive in this country. I’m so grateful that my parents were able to immigrate to this country and make something better for both themselves and for me. They worked their asses off, and they created beauty where there was none, and it wounded me to see them and myself spoken of like we didn’t belong here.What is the play about?It’s about the pain of being misunderstood, and how language and identity are interwoven.You are a writer, and you wrote a play about language. What did you learn about words?I feel incredibly insecure about both my English and Farsi speaking abilities — I feel like I know 50 percent of each language, and I feel like I’m always bombing job interviews because the words never come to me in the way that I want them to come to me. This play was, of course, so much about my parents and immigrants and hoping that we can extend grace to people who are trying to express themselves in a language they didn’t grow up speaking, but I think it was also a reminder to be kind to myself.What is it like to watch the play with audiences who are, presumably, mostly not Iranian Americans?It’s light torture to watch your play with an audience around you. I just watch them watch the play. I remember in New York when we did it, it was hard to feel like we were getting the wrong kinds of laughs some nights. But I also have been really moved by the non-Iranian audiences who have come to see the play and have found themselves in it. That’s what you ask of an audience, and that’s beautiful.As the play is done around the country, you are creating more work for Iranian American performers. Was that a motivation?I grew up watching media in which I was incredibly frustrated by our representation and the roles being offered to us. I know so many actors in our community, and they’re so incredibly talented, and to feel like their talents were not put to good use was frustrating. I wanted to work with them, and I wanted to give them roles that they loved. It was really important to me to make this play funny, because I didn’t want to shut our actors out of big laughs.In previous interviews you’ve talked about a fear of being pigeonholed.I don’t know if that fear will ever dissipate. I feel so proud to be Iranian, and to be able to tell these stories, and I just remain hopeful that when I turn in a commission that’s not about Iran, that it will be equally exciting.You do some television work. Are you a member of the Writers Guild of America? Are you on strike?I am on strike. I was on the picket line last week. I’m incredibly proud to be a W.G.A. member. I love theater — theater is my first love, and my biggest love — but I can’t make a living in theater. If I could, I would give my whole self to the theater. But the W.G.A. meant I had health insurance during Covid and I make my rent. I’ll be on the picket line this week too, and for however long it takes. For so many playwrights, that’s how we subsidize our theater making.What’s next for you?This year I had to ask myself if what we do is important. The people of Iran are in the midst of a woman-led revolution, and they’re putting their lives on the line. I wonder who I would be if we’d never left, and I wonder if I would let my roosari [head scarf] fall back, knowing it could mean my life. But I do really, really believe theater is important — I have been changed by theater, and theater has imagined better futures for me when I have failed in imagination. So I don’t know what’s next, but I just hope that in this year of so much pain and bloodshed, I hope this signals to Iranians that our stories matter and we’re being heard. And one day soon, I hope we get to do this play in Iran. More
Language teachers say the show is a near-perfect amalgam of easy-to-understand English and real-life scenarios that feel familiar even to people who live worlds away from the West Village.True or false: In the television show “Friends,” Monica Geller was invited to Rachel Green’s wedding.The question is part of an English lesson for international students in San Jose, Calif., that is based entirely on the show’s pilot episode. It was designed by Elif Konus, a teacher from Turkey who once binge-watched “Friends” to improve her own English.The class, and the teacher’s TV habits, illustrate an international phenomenon that emerged in the 1990s and has endured across generations: Young people who aren’t native English speakers appear to enjoy learning the language with help from the hit sitcom.Seventeen years after the final “Friends” episode, students and educators say that the show, still seen widely in syndication around the world, works well as a learning resource. The dad jeans and cordless telephones may look dated, but the plot twists — falling in love, starting a career and other seminal moments in a young person’s life — are still highly relatable.“It’s really entertaining compared to other sitcoms, and it addresses universal issues,” Ms. Konus, 29, said by telephone from her home in Monterey, Calif. “The themes, if you ask me, speak to everyone.”Over the years, several prominent celebrities have said that they learned English from “Friends.” The list includes Jürgen Klopp, the German soccer coach who helms Liverpool in the English Premier League; a number of Major League Baseball players whose first language is Spanish; and Kim Nam-joon, the leader of the South Korean pop group BTS.“I thought I was kind of like a victim at that time, but right now, I’m the lucky one, thanks to my mother,” Mr. Kim, who performs under the stage name RM, told the television host Ellen DeGeneres in 2017. “She bought all the seasons.”The “Friends” reunion episode that premiered Thursday on HBO Max included a cameo by the members of BTS and scenes from the show that had been translated into French, Japanese and Spanish. Fans around the world, from Ghana to Mexico, also reminisced about how the show helped them cope with personal dilemmas or tragedies.‘“Friends” just seems to have the magic something.’Measuring the popularity of “Friends” as a teaching resource is an inexact science because so many people watch it outside of formal classrooms. But educators, academic studies and page-view data suggest that the show still has a wide following among English-language learners.“I’ve been on YouTube for 13 years and I have not been posting ‘Friends’ content the whole time,” said Rachel Smith, the founder of the learning site Rachel’s English, based in Philadelphia. “But I’ve definitely never sensed that the time for it has passed.”In one apparent sign of that, “Friends”-based learning videos that Ms. Smith posted in 2019 have received significantly more views per day on average — 839 — than those featuring other shows or movies, she said. After the United States, the most popular markets for her videos as a whole are Vietnam, India, Brazil, Japan, the Philippines and South Korea.Other seminal American TV shows can serve a similar learning function, Ms. Smith said, but they tend to be too particular for nonnative English speakers. The humor in “Seinfeld” is a bit too gritty and New York-specific, for example, while “The Big Bang Theory” could come across as too much of a “scientific nerd thing.”“Other shows do work,” she said. “‘Friends’ just seems to have the magic something that is even more attractive.”Fans and educators on three continents echo the sentiment, saying that “Friends” is a near-perfect amalgam of easy-to-understand English and real-life scenarios that feel familiar even to people who live worlds away from Manhattan’s West Village.Kim Sook-han, 45, known in South Korea for her YouTube videos about teaching herself English, said that the show helped her understand the basics of American culture, including which holidays are celebrated in the United States, as well as how people there deal with conflicts between friends and family members.“My favorite character is Monica because I think we have similar personalities,” she added. “She is very meticulous and clean and always insists on using a coaster because she hates when a cup leaves water stains on a table.”A few fans said they could pinpoint precisely when and where they saw “Friends” for the first time.Ms. Konus was teaching English at a military academy in Ankara, Turkey, six years ago when she noticed that her roommate kept laughing while watching “Friends” on a laptop. Ms. Konus began watching “nonstop,” she said, and learned far more about English than she had in years of grammar-based classes.Jamie Ouyang, 30, discovered the show during her last year of high school in south-central China when she bought a box set in her hometown, Changsha, for about $15. She was hooked from the first episode, in which Rachel, played by Jennifer Aniston, meets the other characters in a wedding dress after abandoning her groom at the altar.Ms. Ouyang, who attended college in Ohio and now works as a film producer in Beijing, said that “Friends” gave her the confidence to make small talk with Americans. It was comforting, she added, to see Rachel make grammatical errors on her résumé.“But Rachel also grew a lot: She did well at her job and found her own path,” Ms. Ouyang said. “Over time, I noticed that people stopped teasing her about her grammar. I paid close attention to that.”Language teaching has changed in recent years.“Friends” may have endured as a teaching tool in part because the internet has made it accessible to new generations of fans. YouTube, especially, allows nonnative speakers to watch clips without having to, say, buy pirated DVDs under a bridge, as Ms. Ouyang did in China 12 years ago.Another reason, said Ángela Larrea Espinar, a professor in the department of English studies at the University of Córdoba in Spain, is that people who teach foreign languages have gradually shifted over the last two decades from a “communicative” approach that emphasizes grammar to one that encourages cross-cultural understanding and reflection.“Culture is a difficult thing to teach, and if you rely on textbooks what you get is stereotypes,” she said.To avoid the textbook trap, Ms. Konus, the English teacher in California, built lesson plans around the sitcom’s 1994 pilot episode. In addition to the question about whether Monica, played by Courteney Cox, was invited to Rachel’s wedding (answer: false), there are exercises that ask students to analyze scenes, idioms and character motivations.Why, for example, does Rachel breathe into a paper bag? And what does Monica mean when she tells Joey Tribbiani, played by Matt LeBlanc, to “stop hitting on” her friend? (Answers: “She is scared of her decision about living on her own” and, “to try to start a conversation with someone that you are interested in.”)Ms. Konus said that her students — who are from Brazil, China, Colombia, Japan, South Korea and Turkey — generally like the “Friends” lessons and end up binge-watching the show on their own. They also slip lines from it into conversation, including Joey’s signature “How you doin’?” greeting, and mimic the depressive way in which David Schwimmer’s character, Ross Geller, says “Hi.”After one class, a Turkish student observed that her teacher’s English sounded not quite native, but also “not Turkish.” Ms. Konus said she took the comment as high praise.How, the student asked, could one hope to reach the same level of English proficiency?“Just watch ‘Friends’ and try to imitate the characters,” Ms. Konus told her. “You’ll get there.”Amy Chang Chien More
