![]() ![]() To follow along with this tutorial, you’ll need Node.js and (optionally) Yarn installed on your machine. Here’s what the final app will look like: ![]() You can find the complete code for this tutorial here, and a live demo of the finished app here. I’ll demonstrate how to build a simple news app that will show the top news articles of the day, and that will allow users to filter by their category of interest, fetching data from the New York Times API. With Vue.js, you can literally build an app around one of these services and start serving content to users in minutes. There’s lots of cool stuff that can be done with data from a range of publicly available APIs. This is because it is one of the few experiences in the world where we sit with a bunch of strangers and look at another human being in the flesh with curiosity and generosity.More often than not, when building your JavaScript application, you’ll want to fetch data from a remote source or consume an API. Going forward it has a HUGE role to play in human beings trusting one another. At least that’s the hope anyway.īut most importantly, the pandemic, inadvertently, has also brought into sharp focus just how important the theatre is - especially as a tool of healing. Would The Resistible Rise of Arturo Ui have been written without Hitler? Would Brechtian theatre ever have existed without Fascism? The current clampdown on activists and thinkers mirrors so many Central American countries of the 1970s and 80s and is likely to spawn an entire generation of ‘revolutionary’ theatre. Some of the most fertile eras in history have been when artistes have been given less space to speak freely be it the anti-establishment plays during the Independence movement, or the formation of IPTA, or Safdar Hashmi’s work against exploitative factory owners, or even the great Irish playwrights during their Occupation. The last two years have also coincided with a severe clampdown on freedoms - particularly those of expression, artistic or otherwise. I don’t know what they are, but I can’t wait to sample them. Also, the economic crunch will require theatre groups to find new forms of telling their stories. These technologies are bound to find their way onto the stage, since for the first time, live camera work and projections are affordable. This was most apparent in how some of the younger groups took to adapting performances to the live online medium using software like OBS and Vmix, with almost professional precision. The lockdowns also exposed us to technologies that were otherwise unavailable. Who we are has changed drastically in the last two years, and the best new plays will not be ones that are overtly about the pandemic, but the ones where the experience of two years has seeped into the writing. I think the new plays will have a similar significance. Yet, none of those plays actually mention that particular time, but when Mercutio curses Romeo with, “A plague on both your houses,” you can imagine the impact of that statement on the Elizabethan audience. Early during lockdown there was a meme that went around saying that Shakespeare wrote four of his strongest plays during the London plague. As artistes process the two years of the pandemic, I expect numerous interesting stories and productions to be created. The larger players who were funding the lavish spectacles are now taking a slightly more circumspect view of things.īut what does this all mean for the years to come? Well, artistically, it is likely to be a fertile time. So, the new productions they are planning are smaller and more modest in their vision. Most companies have eaten into their ‘next production nest-egg’ simply to survive. Few venues like Bandra’s lovely Cuckoo Club and Aaram Nagar’s Over Act had to close. However, the pandemic has had a huge economic impact on the theatre industry, particularly the independent enterprises. While not yet in the same numbers as before, there is a slow momentum building that theatre might just recover those glory days of the 2010s. And many questioned will theatre survive? Will audiences be back?īut, the theatre, is nothing if not resilient, and two years later, they are all back - the plays, the performers, and the audiences. Many actors left the expensive city and moved back to more affordable locations of their hometowns. Many gave it up and moved to other professions that could sustain them more securely. The theatre fraternity went through a crisis like no other. ![]()
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