Word: futz
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Dates: during 1960-1969
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...Futz loves his pig. That isn't graffiti; it's a plot. Futz is an Appalachian farmer whose great pleasure in life is making love to a porker named Amanda. Naturally, his narrow-minded neighbors are upset. The village slut plots revenge on Farmer Futz after he invites Amanda along on a tryst. She persuades a local homicidal maniac to claim that he killed a village girl only after seeing Futz and Amanda in the throes of passion. That's grounds right there for the sheriff to grab Futz and toss him into jail, where the indignant...
...moving plea for the tolerance of sodomists, or a fearless indictment of soil erosion. It makes no difference, and neither, really, does the movie. Based on Rochelle Owens' play and enacted by a group of wildly undisciplined shock troops who call themselves the La Mama Repertory Troupe,* Futz is merely a piece of fraudulent and fearsomely noisy theater of outrage. O'Horgan ceaselessly has his actresses jumping up and entwining their legs around any available male waist; and his notion of "new cinema" is to photograph scenes of idyllic love in slow motion and scenes of bestial passion...
...devotion and love must be present. One woman in New York epitomizes those qualities: Ellen Stewart, the indefatigable doyenne of off-off-Broad way's experimental Café La Mama. Out of La Mama have come Jean-Claude van Itallie (America Hurrah!), Tom O'Horgan, (director of Futz and Hair), Sam Shepard (the 27-year-old author of Red Cross and Chicago), Leonard Melfi (Jack and Jill) and a host of others. Ellen Stewart announces the evening's program by ringing a homely cowbell. As long as Ellen rings her cowbell, whatever the season brings, the theater...
...Futz!--In which Rochelle Owens writes about a farmer who loves one of his pigs. There are those who love it. At ACTORS PLAYHOUSE, Sheridan...
...this led to a theater of holiness? Considering the offspring of Marat / Sade-Hair, Futz!, Tom Paine, Dionysus in '69-one scarcely thinks of holiness but of a kind of Corybantic Holy Rollerism. There is no deep ritualistic satisfaction in hearing the Dionysus in '69 troupe sibilantly repeat, "May I take you to your seat, sir?" in a seatless theater. Brook, of course, should not be blamed for his disciples. He himself expresses uneasy doubts as to whether the theater can restore rit ual or serve as displaced religion...