Word: buts
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Dates: during 1960-1969
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Amazingly enough, Moss accomplishes not only the easy part of the job-removing all the stage's physical accessories-but much of the hard part-actor-audience communion-as well. And in doing that, he makes a powerful case for the validity of an ideal Grotowski theatre.
I explain all this because it relates strongly to my reaction to The Three Sisters , which opened on the Loeb mainstage Thursday night. As I entered the theatre, I was just not in any condition to function as a journalist: I was physically exhausted and emotionally pre-occupied. In this...
In his essay, "Towards a Poor Theatre," Grotowski calls for a theatre devoid of theatrical apparatus and full of human contact. That means the replacement of sets, costumes, lighting, and make-up with a total emphasis on "the actor-spectator relationship of perpetual, direct, live' communion." Grotowski wants, of all...
The production itself is difficult to describe. It is not shocking in the way the Living Theatre is shocking (nor is it at all like the Living Theatre, for that matter), but it is different from probably anything you have seen in a theatre before. From beginning to end, the...
This Three Sisters. then, raises the explosions to the surface. The eruptions exist above the script. They happen when the actors feel they should happen, regardless of what is actually being said. While this can and does happen in a conventional Chek-hov production, the difference is that in this...