an electra
Sat, 16 Sept 2000, 07:24 pmWalter Plinge14 posts in thread
an electra
Sat, 16 Sept 2000, 07:24 pmHello and welcome to my first review on this site.
I have followed with interest the goings on in this section and would like to say from the start that I think a review should not only include the individual's take on the quality of a show in question, but also thoughtful criticism/ideas which a cast/crew/director can take on board for future development. I do not believe in the alarming trend of many high profile reviewers (and others I have read on this site) who seem to offer criticism without suggestion or encouragement. After all, no matter what our level of experience we are all learning the arts of theatre and deserve the respect of our fellow students for having the courage and dedication to take a project from page/brain to audience.
Okay, 'an electra.' I saw the penultimate performance of this piece which played to a packed house. If nothing else (which is not the case here) my hat goes off to the marketing plan behind this project - I would not like to speculate on the difficulty of packing a house of around 40ish at 10.30pm!
The first thing that struck me was the ambiance of the space. I have walked across and messed around in that space many times but when i walked into the performance i was astonished by the transformation. Smoke, lights, scaffold, black floor - someone knows that first impressions last.
This industrial effect was matched by the performer's costuming which I heard described by an audience member as 'Xena meets the Super Goths.' Again, very effective. i liked the Brechtian introduction with the players stating their names and characters to the audience at the start.
What I'm getting at here is that there was obviously a very strong and bold creative vision at play behind the production's design. Adding to the strength of the opening sequences was the robust soundscape provided by a solo bass player (sorry, can't remember many names) and his rather large amp.
Unfortunately, despite the introductions at the start and a couple of costume signifiers, i was quick to forget who some of the characters were and became a bit confused for a time. This didn't bug me at first because the visual content was so rich and the characters so intense.
There was some nice movement work in the opening minutes and this, combined with the afforementioned visual stimuli, the focus of the performers and a droning industrial soundtrack (from bass) made for a very enjoyable and involving first half. VERY intense.
Unfortunately it was this very intensity and visual/aural bombardment which first began to test my attention as an audience member. The awkwardness of the script was the second.
Around halfway through I began to feel as though i needed a rest. There was no let-up in the intensity, no let-up in the visuals and no rest for my ears which really began to be punished by the droning bass - i mean actually hurting. It is my understanding that effective theatre takes the audience with its characters on some sort of journey complete with high and low points. 'an electra' never let me rest.
Perhaps this was a plan but if it was, it was a flawed one - it was just plain too much. I actually wanted to start yelling for some peace from the noise and intensity and ultimately I felt as though i had not gone on a journey but had just sat still while my head was stomped.
It was during this time that I noticed serious flaws in the scripting. Several passages just didn't hit the mark with their 20th centuryisms and drew my attention to the obvious problems the performers were having delivering many of their lines. To their credit though they did not faulter heavily. There was always off-action acting going on too - everyone maintained character and admirable focus even when the script ran out of steam.
I don't know what process went on with the scripting but it really feels to me as though more workshopping is needed.
I guess my ultimate feeling with 'an electra' is that a grand plan was hatched and an overall vision born - both strong and focused - but not enough attention was paid to the journey necessary to make characters and plot work in entertaining an audience. The soundscape was very effective but really could've done with being broken up too - the few moments when a tamborine were used instrad of the bass were like a tiny oasis in a searing desert.
More variation in pace, soundscape, characterisation and viuals would do wonders for this piece.
My bottom line: My hat goes off to the vision and spirit behind this piece. Also to the actors who dealt well with the difficult themes, script and characters. 'an electra' lost its way for me about half way through, but the beginning was very exciting to watch. Congratulations on building a platform from which I expect many things will grow.
-Gibson Nolte
I have followed with interest the goings on in this section and would like to say from the start that I think a review should not only include the individual's take on the quality of a show in question, but also thoughtful criticism/ideas which a cast/crew/director can take on board for future development. I do not believe in the alarming trend of many high profile reviewers (and others I have read on this site) who seem to offer criticism without suggestion or encouragement. After all, no matter what our level of experience we are all learning the arts of theatre and deserve the respect of our fellow students for having the courage and dedication to take a project from page/brain to audience.
Okay, 'an electra.' I saw the penultimate performance of this piece which played to a packed house. If nothing else (which is not the case here) my hat goes off to the marketing plan behind this project - I would not like to speculate on the difficulty of packing a house of around 40ish at 10.30pm!
The first thing that struck me was the ambiance of the space. I have walked across and messed around in that space many times but when i walked into the performance i was astonished by the transformation. Smoke, lights, scaffold, black floor - someone knows that first impressions last.
This industrial effect was matched by the performer's costuming which I heard described by an audience member as 'Xena meets the Super Goths.' Again, very effective. i liked the Brechtian introduction with the players stating their names and characters to the audience at the start.
What I'm getting at here is that there was obviously a very strong and bold creative vision at play behind the production's design. Adding to the strength of the opening sequences was the robust soundscape provided by a solo bass player (sorry, can't remember many names) and his rather large amp.
Unfortunately, despite the introductions at the start and a couple of costume signifiers, i was quick to forget who some of the characters were and became a bit confused for a time. This didn't bug me at first because the visual content was so rich and the characters so intense.
There was some nice movement work in the opening minutes and this, combined with the afforementioned visual stimuli, the focus of the performers and a droning industrial soundtrack (from bass) made for a very enjoyable and involving first half. VERY intense.
Unfortunately it was this very intensity and visual/aural bombardment which first began to test my attention as an audience member. The awkwardness of the script was the second.
Around halfway through I began to feel as though i needed a rest. There was no let-up in the intensity, no let-up in the visuals and no rest for my ears which really began to be punished by the droning bass - i mean actually hurting. It is my understanding that effective theatre takes the audience with its characters on some sort of journey complete with high and low points. 'an electra' never let me rest.
Perhaps this was a plan but if it was, it was a flawed one - it was just plain too much. I actually wanted to start yelling for some peace from the noise and intensity and ultimately I felt as though i had not gone on a journey but had just sat still while my head was stomped.
It was during this time that I noticed serious flaws in the scripting. Several passages just didn't hit the mark with their 20th centuryisms and drew my attention to the obvious problems the performers were having delivering many of their lines. To their credit though they did not faulter heavily. There was always off-action acting going on too - everyone maintained character and admirable focus even when the script ran out of steam.
I don't know what process went on with the scripting but it really feels to me as though more workshopping is needed.
I guess my ultimate feeling with 'an electra' is that a grand plan was hatched and an overall vision born - both strong and focused - but not enough attention was paid to the journey necessary to make characters and plot work in entertaining an audience. The soundscape was very effective but really could've done with being broken up too - the few moments when a tamborine were used instrad of the bass were like a tiny oasis in a searing desert.
More variation in pace, soundscape, characterisation and viuals would do wonders for this piece.
My bottom line: My hat goes off to the vision and spirit behind this piece. Also to the actors who dealt well with the difficult themes, script and characters. 'an electra' lost its way for me about half way through, but the beginning was very exciting to watch. Congratulations on building a platform from which I expect many things will grow.
-Gibson Nolte
MEYERHOLD
Thu, 21 Sept 2000, 01:05 pmahem...allow me
:)
MEYERHOLD, Vsevolod (1874-1940?), Russian actor and theater director, who, from the turn of the century to the mid-1930s, was an influential proponent of radical experimental theater.
Meyerhold trained in Moscow for a theatrical career and became a member of the famed Moscow Art Theater in 1898; he headed its experimental studio in 1905. By then he had formulated his theories of "abstract" or "conditional" theater; actors were to be rigorously trained as puppets completely controlled by the director, and conventional staging was to be rejected in favor of abstract settings in the form of platforms and ramps.
With the success of the Russian Revolution in 1917, Meyerhold joined the Communist party and was given his own theater in Moscow, where he produced (1918) Vladimir Mayakovsky's Mystery-Bouffe, the first Soviet play. From then until the mid-'30s he produced a succession of controversial plays, including his last, an eccentric adaptation of Aleksandr Pushkin's classic tale "The Queen of Spades" (1935). Meyerhold's idiosyncratic temperament finally brought him into disfavor with the Soviet regime, and he was arrested and imprisoned in 1938; his death reportedly occurred in 1940.
lifted from:
http://www.fwkc.com/encyclopedia/low/articles/m/m016001705f.html
and, some pictures:
http://faculty-web.at.nwu.edu/slavic/theater/index10.html
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