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
Walter PlingeSat, 16 Sept 2000, 07:24 pm
Hello 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
Walter PlingeWed, 20 Sept 2000, 04:20 pm
RE: an electra
I would like to thank Gibson for his insightful critique of my production 'an elektra'.
Yes, it was an experimental project that asked much of the actors AND the audience. It is good to know that we hadn't produced a piece of 'easy listening' theatre. There were people who absolutely hated it and others who have eagerly cornered me asking when my next production was openingÂ…
I agree with Gibson that the performance was intense and didn't let up at any point. The word we frequently used in rehearsal was UNRELENTING. This in a way was our mantra. No highs and lows "It just kept getting louder and more horrible" I was told by some. YESÂ… One woman approached me and complained that the rape scene was obscene and disturbingÂ… I should hope so "it was a rape scene how should it have been?"
In terms of character journey I must point out the my own approach to theatre has increasingly become more Meyerholdian than Stanislavskian/Freudian. The Elektra does not show a girl steadily degenerating into a creature of miserable revenge - It starts that way and continues to the bitter end. It should be remembered that gradual character development is a very recent trend and one that I feel has bogged down a lot of other modes of theatrical expression.
Many of Gibson's qualms about the script and acting style were in fact conscious directorial decisions that I will continue to question myself in terms of their effect and effectiveness. I must commend each and all of my actors who put themselves in places they would not normally have gone to realise this production. Many have done shows that have allowed them so little scope to try new and different things.
I have taken to heart many of Gibson's and comments by others and will be reworking the production for its next season at the Nexus Theatre in November (check press for details). As mentioned in the review despite a late starting time (10.30pm) we managed to sell out our entire season! Which has meant some decent pay for my actors!
My next production (October) is The Queen of Spades with David Meadows, Diana Campbell, and Renate Earnshaw.
Following this I have a BlueRoom Season (November) with a re-working of Chekov's The Seagull. I will place an Audition notice soon.
Other thoughts on an elektra eagerly sought! We can only improve as practitioners with continual dialogue and debate.Â…
Thanks
Malcolm
Yes, it was an experimental project that asked much of the actors AND the audience. It is good to know that we hadn't produced a piece of 'easy listening' theatre. There were people who absolutely hated it and others who have eagerly cornered me asking when my next production was openingÂ…
I agree with Gibson that the performance was intense and didn't let up at any point. The word we frequently used in rehearsal was UNRELENTING. This in a way was our mantra. No highs and lows "It just kept getting louder and more horrible" I was told by some. YESÂ… One woman approached me and complained that the rape scene was obscene and disturbingÂ… I should hope so "it was a rape scene how should it have been?"
In terms of character journey I must point out the my own approach to theatre has increasingly become more Meyerholdian than Stanislavskian/Freudian. The Elektra does not show a girl steadily degenerating into a creature of miserable revenge - It starts that way and continues to the bitter end. It should be remembered that gradual character development is a very recent trend and one that I feel has bogged down a lot of other modes of theatrical expression.
Many of Gibson's qualms about the script and acting style were in fact conscious directorial decisions that I will continue to question myself in terms of their effect and effectiveness. I must commend each and all of my actors who put themselves in places they would not normally have gone to realise this production. Many have done shows that have allowed them so little scope to try new and different things.
I have taken to heart many of Gibson's and comments by others and will be reworking the production for its next season at the Nexus Theatre in November (check press for details). As mentioned in the review despite a late starting time (10.30pm) we managed to sell out our entire season! Which has meant some decent pay for my actors!
My next production (October) is The Queen of Spades with David Meadows, Diana Campbell, and Renate Earnshaw.
Following this I have a BlueRoom Season (November) with a re-working of Chekov's The Seagull. I will place an Audition notice soon.
Other thoughts on an elektra eagerly sought! We can only improve as practitioners with continual dialogue and debate.Â…
Thanks
Malcolm
Walter PlingeWed, 20 Sept 2000, 11:49 pm
RE: an electra
'an electra' was compelling and fascinating. I have always found Greek Theatre to be intriguing and evocative and Malcolm's production did not deviate from the 'unrelenting', primal energy and fatalism of the original text. Malcolm did not become seduced by the 'cult of funk' and pretentiously attempt to bring the work 'fashionably up-to-date' - such is the current (and unsurprising) trend with theatrical revisitations of classic texts. His directorial style was consistent and uncompromising. I particularly enjoyed the work of the women in the cast, especially the actress in the title role. Her intensity and outrage was authentic and textured. The men lacked the movement skills and acting range to be able to generate and sustain the tempo and focus that was required of them. The music was suitably discordant - very alienating - until it began, on occasion, to cause real, physical discomfort (ditto Gib) and drown out the actor's delivery of lines. Its weirdness did at times remind me of that bizarre, spaghetti Western tradition of using strange and unexpected sound effects to punctuate the dramatic action. The extremely limited space was configured effectively to allow for a range of levels, although I would like to see this piece in a larger venue. The costumes were perhaps the most distracting element for me. The Goth style, with sadomasochistic undertones was extremely camp and passe to the point of being almost comical. And the play did not need so heavy-handed an approach to visualising the darkness and brutality of the psychology of the characters.The wild hair thing was equally unoriginal, as was the black lipstick et al... The bleak inevitability of Electra requires little embellishment or underscoring. Where Greek Theatre is concerned, I believe less is more. As for the nudity, well it wasn't at all necessary or innovatively utilised, but it wasn't too distracting - expect for the 'whipping' off and on of the toga...The rape was a rape and competently done - and to the victim, congrats to Shelley Hayes for embarking on so wild a journey and for displaying a range of ability that showed her to be a trully multidimensional performing arts practitioner.
'an electra' was a highly entertaining and informative theatre experience and inspired me to think about trying my hand at the Greek form in the near future. I will have more to say to Malcolm over coffee when he can look me in the eye. Love the man, love his work...
Oh, and its gratifying to see him being so well supported by The Blue Room - I am elated that the script selection panel has deemed his re-working of Chekov's The Seagull worthy of a season...Malcolm's been an exceptionally loyal supporter for some time. It has been my privilege to work with Malcolm Crisp over the years and I have always found our collaborations fruitful and challenging. He is perhaps the most supportive, considerate and professional theatre practitioner with whom I have ever worked and I would like to take this opportunity to thank him publically for his ongoing interest and faith in my own performing arts practices. Furthermore I admire his diverse, unexpected, independent directorial contributions to the performing arts here in this incestuous Perth arts community. Where Malcolm is concerned, it is not just who he knows that gets him his gigs. Malcolm has been around - I mean that lovingly and with respect.
'an electra' was a highly entertaining and informative theatre experience and inspired me to think about trying my hand at the Greek form in the near future. I will have more to say to Malcolm over coffee when he can look me in the eye. Love the man, love his work...
Oh, and its gratifying to see him being so well supported by The Blue Room - I am elated that the script selection panel has deemed his re-working of Chekov's The Seagull worthy of a season...Malcolm's been an exceptionally loyal supporter for some time. It has been my privilege to work with Malcolm Crisp over the years and I have always found our collaborations fruitful and challenging. He is perhaps the most supportive, considerate and professional theatre practitioner with whom I have ever worked and I would like to take this opportunity to thank him publically for his ongoing interest and faith in my own performing arts practices. Furthermore I admire his diverse, unexpected, independent directorial contributions to the performing arts here in this incestuous Perth arts community. Where Malcolm is concerned, it is not just who he knows that gets him his gigs. Malcolm has been around - I mean that lovingly and with respect.
Grant MalcolmThu, 21 Sept 2000, 06:04 am
RE: an electra
Hi Jamie
I wish i shared your (almost) unrelenting enthusiasm for the performance of an electra.
I struggle to see how the words "highly entertaining" might pertain to a performance that appeared to me to set about discarding almost anything that might have sustained an audience's interest.
Unrelenting, yes. But correspondingly, banal in its lack of variation in pace, energy, volume, emphasis. No character development, fine. But consequently, largely flat, unwavering, unmotivated interpretations.
I was impressed with Malcolm's premises, his mis en scene and the energy of the performances. However i felt the production went nowhere. Looking back, i realise that within twenty minutes i felt i had seen and heard everything the production had to offer and was earnestly hoping for more.
Just as film audiences and critics have recently been given cause to re-discover the reasons for editing, so i felt an electra clearly demonstrated for me how fundamental such notions as highs and lows and even apparently motivated action really are to performance. It's all very well to proclaim that your stance is anti-naturalism, for example. As long as what you then establish in performance transcends the "anti" and promotes a vibrant new form or approach.
I think i can understand the appeal of Meyerhold to a person with, amongst many other things, a predominantly technical background, and it's refreshing to be reminded. But there are good reasons why Meyerhold's methodologies have been largely left behind or incorporated more satisfactorily into holistic approaches to performance - not least because many of his own theatrical experiments simply didn't work effectively in performance.
I was impressed by the commitment of the performers. But affirming that good performance requires committed performers, is not the same as asserting that committed performers necessarily make for good performance.
I think Malcolm's thinking about conventions he wishes to discard and wishes to keep shows a degree of inconsistency - on the one hand laying claim to ancient precedent when dismissing gradual character development as a very recent trend (?), but then claiming to be trying new and different things with his production.
Having said all this i strongly feel that work like an electra, explorative performance, urgently needs space and must be done. Even if for sometime cynics and philistines, like me, it occasionally just affirms and clarifies some existing tried and tired preconceptions. i know that i need to have the boundaries of my artform tested in order to give myself a sense of place and space.
i look forward to seeing further development of Malcolm's ideas about performance.
Cheers
Grant
I wish i shared your (almost) unrelenting enthusiasm for the performance of an electra.
I struggle to see how the words "highly entertaining" might pertain to a performance that appeared to me to set about discarding almost anything that might have sustained an audience's interest.
Unrelenting, yes. But correspondingly, banal in its lack of variation in pace, energy, volume, emphasis. No character development, fine. But consequently, largely flat, unwavering, unmotivated interpretations.
I was impressed with Malcolm's premises, his mis en scene and the energy of the performances. However i felt the production went nowhere. Looking back, i realise that within twenty minutes i felt i had seen and heard everything the production had to offer and was earnestly hoping for more.
Just as film audiences and critics have recently been given cause to re-discover the reasons for editing, so i felt an electra clearly demonstrated for me how fundamental such notions as highs and lows and even apparently motivated action really are to performance. It's all very well to proclaim that your stance is anti-naturalism, for example. As long as what you then establish in performance transcends the "anti" and promotes a vibrant new form or approach.
I think i can understand the appeal of Meyerhold to a person with, amongst many other things, a predominantly technical background, and it's refreshing to be reminded. But there are good reasons why Meyerhold's methodologies have been largely left behind or incorporated more satisfactorily into holistic approaches to performance - not least because many of his own theatrical experiments simply didn't work effectively in performance.
I was impressed by the commitment of the performers. But affirming that good performance requires committed performers, is not the same as asserting that committed performers necessarily make for good performance.
I think Malcolm's thinking about conventions he wishes to discard and wishes to keep shows a degree of inconsistency - on the one hand laying claim to ancient precedent when dismissing gradual character development as a very recent trend (?), but then claiming to be trying new and different things with his production.
Having said all this i strongly feel that work like an electra, explorative performance, urgently needs space and must be done. Even if for sometime cynics and philistines, like me, it occasionally just affirms and clarifies some existing tried and tired preconceptions. i know that i need to have the boundaries of my artform tested in order to give myself a sense of place and space.
i look forward to seeing further development of Malcolm's ideas about performance.
Cheers
Grant
Walter PlingeThu, 21 Sept 2000, 12:30 pm
RE: an electra
[Paul hastily arranges a barricade in front of himself before he asks this burning question]
Malcolm, Jamie, Grant...
Who's Meyerhold?
I've heard the name before, but don't know what he's done...
Mea culpa, mea culpa, mea maxima culpa...
My knowledge of the history of modern theatrical practice is not as good as it should be!
ENLIGHTEN ME!
(Yes, that was enlighten, not flame!)
Thank You for tolerating my ignorance
The Treasured One
Malcolm, Jamie, Grant...
Who's Meyerhold?
I've heard the name before, but don't know what he's done...
Mea culpa, mea culpa, mea maxima culpa...
My knowledge of the history of modern theatrical practice is not as good as it should be!
ENLIGHTEN ME!
(Yes, that was enlighten, not flame!)
Thank You for tolerating my ignorance
The Treasured One
Sharon MalcolmThu, 21 Sept 2000, 01:05 pm
MEYERHOLD
ahem...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
Walter PlingeThu, 21 Sept 2000, 01:27 pm
RE: MEYERHOLD
"...actors were to be rigorously trained as puppets completely controlled by the director..."
Hmm... sounds like the directors of some of our musicals are very Meyerholdian
"...and conventional staging was to be rejected in favor of abstract settings in the form of platforms and ramps."
Nope, then again, maybe not!!!
Thank you Sharon, I don't feel so stupid now, I did know of Meyerhold's style of theatre, I just hadn't connected it with his name. I can now name drop with the best of them...
The Treasured One
Hmm... sounds like the directors of some of our musicals are very Meyerholdian
"...and conventional staging was to be rejected in favor of abstract settings in the form of platforms and ramps."
Nope, then again, maybe not!!!
Thank you Sharon, I don't feel so stupid now, I did know of Meyerhold's style of theatre, I just hadn't connected it with his name. I can now name drop with the best of them...
The Treasured One
Walter PlingeThu, 21 Sept 2000, 06:50 pm
RE: MEYERHOLD
You reckon you feel stupid Paul - I thought it was something perfected by Hulk Hogan!!!!
Walter PlingeFri, 22 Sept 2000, 08:27 am
RE: an electra
Jamie,
Your comment about feeling inspired to try your hand at the Greek form............I hope that was tongue in cheek(s).
Fletch
Your comment about feeling inspired to try your hand at the Greek form............I hope that was tongue in cheek(s).
Fletch
Walter PlingeFri, 22 Sept 2000, 09:53 pm
RE: an electra
I would like to think that I am willing to expose myself to most possibilities when it comes to the thrust and pull of the world of the performing arts...cheeks, Greeks...I am very hands on in my approach and I'm not afraid to maintain a firm and certain grip on the action...
By the way, my cheeky production of the AFL ribbing GRAND FINAL commences in two weeks -there's tears, laughs, nudity and large trophies as the boys battle out the sexuality game at the East Amphitheatre, The Totem Bar, 446 Beaufort Street, Highgate on Oct. 5, 7 and 8 then at KULCHA 1st Fl, 13 South Tce, Freo on Oct 11 & 12 at 8pm.
Contact PRIDE for details: 0401302980
By the way, my cheeky production of the AFL ribbing GRAND FINAL commences in two weeks -there's tears, laughs, nudity and large trophies as the boys battle out the sexuality game at the East Amphitheatre, The Totem Bar, 446 Beaufort Street, Highgate on Oct. 5, 7 and 8 then at KULCHA 1st Fl, 13 South Tce, Freo on Oct 11 & 12 at 8pm.
Contact PRIDE for details: 0401302980
Walter PlingeWed, 11 Oct 2000, 01:07 pm
RE: an electra
Further to the discussion of electra, I would like to just say, now that i am finally on this super highway of discussion after much stress to my psyche, that on viewing the show i was indeed challenged as an audience member to my Ideals. As a regular theatre goer I am generally appalled by the lack of insight or indeed acting ability of many productions i see. This oe however gave me hope.
Perth has a very strange reaction to the unusual. Most people are scared if it's not "Australia's funniest home video's" or "changing rooms". An Electra however was not a banal piece of home grown tripe. I think if This piece of theatre had of been produced in france and brought over to PIAF everyone would be applauding the piece as an amazing innovative piece of theatre because it was from over seas.
It is pieces of theatre like this that keep my hope in the perth theatre scene alive!!!
Another Is "A clock Work Orange" on at fuel at the moment. absolutely superb!!!
If you get a chance go and see it. And If an Electra resurfaces, which I think it should,
If you haven't seen it it certainly is a must!!!
Perth has a very strange reaction to the unusual. Most people are scared if it's not "Australia's funniest home video's" or "changing rooms". An Electra however was not a banal piece of home grown tripe. I think if This piece of theatre had of been produced in france and brought over to PIAF everyone would be applauding the piece as an amazing innovative piece of theatre because it was from over seas.
It is pieces of theatre like this that keep my hope in the perth theatre scene alive!!!
Another Is "A clock Work Orange" on at fuel at the moment. absolutely superb!!!
If you get a chance go and see it. And If an Electra resurfaces, which I think it should,
If you haven't seen it it certainly is a must!!!
Walter PlingeThu, 23 Nov 2000, 11:43 am
RE: MEYERHOLD
speaking of names..............
g'day. strange to see someone with the same name- maybe we're related. get in touch if you see this- my other email is dmtreasure@telstra.easymail.com.au
g'day. strange to see someone with the same name- maybe we're related. get in touch if you see this- my other email is dmtreasure@telstra.easymail.com.au