Word: chaikin
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...film he becomes like all the other people in front of my camera - an actor. At times most of us are silently acting because it would be too painful not to act and too cruel to talk of the truth which exists.... To complete this circle Joseph Chaikin, the Actor, plays Julius and becomes me at the same time." In Me and My Brother Frank uses film, which is a process of lies, to describe the reality he insists on living with...
...first main sequence Julius enters a room in which the cameras are filming Peter making it with another homosexual for a skinflick. As Julius (Chaikin) watches, we see him recoil. The grating voice of the man behind the camera tries to sell him: Come around again, it's not so bad, Love can't be bad, ch Julius? The man behind the camera promises to show Julius the film. You'll be in the movies, Julius, big... up on the screen. The movie is a prostituting medium and Julius r?i?cts it; he refuses to become an actor...
Chaiki−a monkish-looking alumnus of the Living Theater−is also stripping the Tired Old Theatergoer to his pre-prop basics. Audiences bored with seeing curtains go up on living rooms that imitate their own will find themselves confronted by inner rather than outer realities. Chaikin says that he is striving toward "a theater of ritual dreams, phantoms, clowns, monsters." In other words, the pure joys, and terrors, of make-believe...
Beginning to Surface. Since 1963, the Open Theater has been testing theories and practices chiefly before semiprivate audiences in small New York theaters or at the anonymous distance of European stages. Chaikin is a fervid anti-publicist who has kept underground despite the Open Theater's operative role in two famous productions: Jean-Claude van Itallie's America Hurrah and Megan Terry's Viet Rock. Whether Chaikin wants it or not, his Open Theater troupe is beginning to surface as one of the best experimental companies in the U.S.−and certainly the most disciplined...
During a recent visit to Harvard's Loeb Drama Center, the Open Theater demonstrated its traditional expertise at oldfangled script-drama with a superbly subtle production of Endgame. Chaikin himself counterpointed Beckett's black doomsplay with a singsong, smiling-Buddha portrayal of blind, crippled Hamm. Beckett's line, "Nothing is funnier than unhappiness," might have served as production motto...