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...commercial crap around here," said Stan Edelson, director of the Caravan Theatre. We sat across from each other in his basement office before Friday night's performance of Brecht's Caucasian Chalk Circle as he talked about the formation of his semi-repertoire group. "We're interested in finding and performing the things that reach people," he told me in an almost inaudibly quiet voice. "It can be fucking or fighting or loving or hating: in that senses we're a political theatre...

Author: By Jeffrey S. Golden, | Title: The Theatregoer The Caucasian Chalk Circle | 1/21/1970 | See Source »

...Fold-up chairs on risers made a three-quarter round for the "stage"- a clearing in the middle of the room. At the base of the clearing, a ten-foot circle, which provided a focus for the actors' "movement" from scene to scene, was marked on the floor with chalk. The players were costumed in only the barest suggestion of peasant clothing, creating props with pantomime or interpretive embellishment of mundane objects. With these meager facilities, the Caravan players unraveled the most passionately brilliant production that I can remember seeing in the Boston area...

Author: By Jeffrey S. Golden, | Title: The Theatregoer The Caucasian Chalk Circle | 1/21/1970 | See Source »

...decency only estrange her from her lover and mark her as a doomed woman in the eyes of the peasants. The act culminates in a surrealistic, semi-improvised dream sequence, where the characters, each physicalizing his own brand of hatred, converge on the girl from the edges of the chalk circle, suffocating her with their ugliness...

Author: By Jeffrey S. Golden, | Title: The Theatregoer The Caucasian Chalk Circle | 1/21/1970 | See Source »

...Chalk Circle performance, the company approaches the surrounding audience and, with different cadences, speak personal versions of Brecht's closing lines...

Author: By Jeffrey S. Golden, | Title: The Theatregoer The Caucasian Chalk Circle | 1/21/1970 | See Source »

...minuscule brush stroke may distinctly show a man walking or working underneath a tree. Bruegel began with ships' timbers of seasoned oak. He set the planks edge to edge, smoothed them, and then brushed on a white gesso base. He drew his composition on the gesso in gray chalk. That done, he would start painting in egg tempera, thinly and swiftly. His first layers of color, though, often bore no overt relation to the effect in his mind. Ice, for example, might be lemon-yellow at the start. Blue oil glazes floated over it would freeze...

Author: /time Magazine | Title: Art: Man for All Seasons: A Bruegel Calendar | 1/12/1970 | See Source »

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