Disreputable individuals have a tendency to call themselves journalists, editors, correspondents, columnists, reporters, interviewers, presenters, media personalities, entertainers, photographers, camera persons, sound crew members, publicists, politicians and/or celebrities. They may even call themselves critics.
What do you call yourself and why?
And what are you doing behind that digital curtain?
Disreputable individuals have a tendency to discredit artistic persons whose works they cannot comprehend. They also tend to intrude upon the private and professional lives of artistic persons, and anyone else wittingly or unwittingly attracting their unseemly attention.
When reporting through the media and/or social media in relation to social issues, cultural issues, political issues, economic issues and/or environmental issues, an enlightened journalist would never pillory anyone unfairly. And nor would an enlightened critic.
The only exception would be when an ill-mannered, exceedingly wealthy and/or influential person is publicly observed to be hypocritical or even a bully. Even then, if a wealthy hypocrite is performing for money on a literal or figurative stage, please have sufficient respect for the paying public in attendance.
Why does the public tend to give money to hypocrites?
Why does the public tend to vote for hypocrites?
Who are the people within your public?
When the public of one state is humiliated and demoralised by a politician from another, the media must do its best to promote a fairer world.
When a politician from one state denigrates the public within that state, there is a serious problem for the media to investigate urgently.
Improving the world is the duty of every true artist, every respectable citizen, every responsible scientist and every quality journalist. Although the public is frequently humiliated and demoralised by its own political representatives, in every society, human dignity demands that no public humiliation should occur without proper justification.
Self-serving political figures often deserve to be figuratively pilloried with satire. Even so, everything must be done as tastefully as possible whilst attempting to prevent corruption, extravagance and ridiculous reasoning.
When attempting to understand the requirements of sprezzatura within this ethereal theatre, reading the Villa Twaklinilkawt introductory media statement and introductory privacy statement would be a very good start. Misinterpretations must be prevented whenever they are likely to cause unseemly societal discord.
No unfairly offered free tickets or other perks are provided here to anyone. At the monthly public online presentations and performances, there is usually enough free seating for everyone.
There is no free seating at private performances here. All justifiable approaches to equitable access are already in place throughout Villa Twaklinilkawt.
Have you taken the virtual guided media tour of the villa recently?
Theatre is likely to
mean different things to you
in terms of:
If you are expecting to join the public tour of this ethereal theatre, why is that?
How well acquainted are you with the Twaklinesque?
What would you like to know about upcoming public occasions here?
What are your questions regarding inclusive public access?
What are your questions about the management of this theatre?
What have been your most recent contributions to the 21st century Enlightenment?
How do you usually express sprezzatura?
What were your initial impressions when entering this ethereal theatre through the stage door?
What are your questions about the box office?
What are your questions about the green room?
You may have a few questions about the audition process here.
If you are a respectable member of the media, you are unlikely to have many questions at all about artistic integrity.
You may be hoping to experience an encore public performance.
You may have a few questions about the undercover work officially or unofficially associated with this theatre.
Are you familiar with the policy here in relation to critics?
What are your own experiences of audiences?
What have been your prior experiences of sprezzatura performances?
What have been your experiences of Adelaideans?
What have been your experiences of the Mozarty Party?
Are you expecting some sort of exclusive access here?
That sort of privilege is only granted in exceptional circumstances.
Who considers you to be an enlightened cultural leader, and why?
Have you ever entered Mozart's dressing room?
Have you ever been invited into Nannerl's suite?
If you are not already a patron here of any distinction, why is that?