Word: pirandello
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...Theater people. And I don't mean actors, directors or producers. They're fine. I mean theater people, people who can't see beyond the pages of Sam Shepard or Pirandello and act as if a single production can change the world and tend to get bogged down in the so-called creative process and go on and on about "motivation" and being "in character" and all that other jargony stuff...
...directing students have no mandatory classes, but are expected to work on ART and Institute productions. Herskovits is the assistant director of Gillette, and Landau is the assistant director of Brustein's production of Luigi Pirandello's Right You Are (If You Think You Are). Landau is also directing the Institute's Cabaret...
Theatergoers expecting the Next Big Thing out of DeLillo are bound to be disappointed. He is covering ground blazed by Stoppard, Beckett and Pirandello, but he is covering it well. (Interestingly enough, last year was the fiftieth anniversary of the latter's death, and A.R.T.'s artistic director Robert Brustein designed this season as a sort of tribute to Italy's greatest dead playwright...
That bizarre sequence opens Tonight We Improvise, a play by Luigi Pirandello, adapted and directed by Robert Brustein for his American Repertory Theater in Cambridge, Mass. Brustein also plays the impresario advocating auteurism; the cameraman is Frederick Wiseman, renowned for such PBS cinema verite documentaries as Canal Zone and Meat. Their monologues, just serious enough to be plausible -- Brustein actually does believe that directors have as creative a role as writers -- eventually become self-mockingly funny. But the jokes seem to go over the heads of much of the audience; instead of laughing, many spectators stare deadpan as if trying...
...effect is a powerful display of theater's seductive capacity to disparage illusion one moment, then compellingly restore it the next. Still, many Cambridge viewers remain baffled. They appear not to grasp that most of the scenario is Pirandello's rather than Brustein's and that despite the title, most is scripted rather than improvised. By Brustein's standards, the show is a success: it arouses rather than coddles audiences, forcing them to ponder the nature of theater -- not least the potential for being manipulated while happily submerged in a story. Says Brustein: "Audiences are responding correctly: they are being...