Word: artaud
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...Artaud a visionary and music, was perhaps more of a dreamer than a play right. Many of his ideas about theater seem all defined and poorly suited to the stage. His ritualistic approach fosters confusion because we're often not sure where reality ends and mysticism takes over. This is particulars evident in his characterizations. Beatrice and Lucretia are unquestionably human, but the Count is more of an mearnation of an evil force. He is a myth-like figure and like the gods of classical mythology, he feels no guilt for his malice. If anyone is to repent...
ANOTHER TENET of Artaud's theater dictated that the mise en scene is more important than the language. And his relative indifference to words is reflected in the play; even in the original French, speeches are full of stilted, awkward phrases, heavy-handed metaphors, and non sequiturs But if Artaud meant to avoid the conventional limitations of language, he certainly picked the wrong method. Other surrealistic authors, like fonesca, have successfully given words new impact but only by exercising careful control, not be ignoring them...
...Since Artaud conceived of theater as a total sensors experience, his script is something of a skeleton. It anything, this puts a heavier burden on the actors, and in this production, the cast doesn't meet the challenge. David Juda gives the best performance as the demonic Count. His facial contortions and bent posture add immeasurably to the anguished character outlined in the script...
Several of the other actors, however, mar the production because of poor voice control and modulation. Since Artaud was given to excessive use of monologue, this problem is especially glating. Elizabeth Philip, who never seems comfortable in the pivotal role of Beatrice, rarely changes her intonation or expression, and her first speech is maudible. Probably because he plays a very detached Papal representative. Philip Haas speaks at an even keel throughout the evening, but he could vary his voice more without appearing entangled in the Cencis' private...
...Artaud also believed in exploiting fully the effects produced by lights, sounds, costumes, and the set. This production valiantly tries to remain faithful to Artaud's stage directions, and although Barbara Kirschten's costumes are very well conceived, some effects like the candies enhance the mood, but most cause more embarrassing technical difficulties than they're worth...