Word: canosa
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Dates: during 1990-1999
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...Canosa: No, you're not wrong, but I went back to a transliteration of Strindberg that demonstrated that Strindberg really did use words like fuck and shit, because he was an excremental poet, but it wasn't well-received in the theater...
...Canosa: I don't think there should be any limits or rules; on the other hand, what will be dramatically alive on stage? I think nudity on stage is often very boring, sex on stage is often very boring, because it's not that interesting to see two faces smushed, but it is to see two faces coming towards each other, and the tension, and they can't kiss...
...Canosa: When I first thought of doing theater, I felt, 'why do that when I can be so much more powerful manipulating film as a director,' whereas theater is only there for a second, but [at the same time] that's the great thing, that transitory moment, anything can happen, you can't rewind it, or freeze frame...
...Canosa: The chrysanthemum opening is supposed to be an orgasm at the end of Dream Play. But to me, the very first thing is she is born into the world, to me the end was like the womb closing back up, sucking her back up. Not about any chrysanthemum opening. No. [With] Dream Play, I'd say, I violated more of the integrity of the text than any other time. Because I didn't tell that story. It came from when I wanted to be a painter in theater, now I think storyteller is something I need...
...Canosa: I work with my actors, I tell them, inside this magic space, you can do nothing wrong, morally, ethically--maybe physically, I don't want you to hurt another actor. On the other hand, you can do something that represents the hurt of another actor...