Word: lusthaus
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Dates: during 1980-1989
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Martha Clarke is the hottest figure in New York City's avant-garde theater, bringing an erstwhile dancer's feel for movement and a gift for making startlingly beautiful stage pictures to The Garden of Earthly Delights (1984), based on Hieronymus Bosch's painting, and Vienna: Lusthaus (1986), which suggested the way 19th century romanticism evolved toward 20th century Holocaust. Clarke's allusive, dreamlike style can mesmerize audiences into believing they perceive subtle new connections among ideas and events. But in The Hunger Artist, which opened off-Broadway last week, Clarke has turned toward narrative and dialogue, and what meets...
...themselves. And perhaps on their own they will also draw the tempting parallels between Vienna's fin-de-siecle and today's end-of-the-century ferment. Sometimes the connections are plain: a brooding eroticism pervaded Viennese art, and today in Manhattan, a well-attended theater piece called Vienna: Lusthaus is heavy with that musky retro scent of doom and libido. The handsome stripped classicism of Loos and Wagner has clear echoes in the architecture of Michael Graves, Andres Duany and Mark Mack. Today as then, the hip bourgeoisie is overeager to embrace bratty, nihilistic expressionist painters. If the confident...
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