Word: sade
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Dates: during 1970-1979
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...show's director, Peter Brook, is a man of many devices. His chief device is to defeat the traditional expectations of the audience. His credo might be "Accentuate the opposite." This credo links Marat/ Sade with King Lear and A Midsummer Night's Dream. Do we expect actors to move naturally on stage and to speak intelligible words? In Marat/ Sade, Brook made his actors move as if walking were a stylized, agonized abstraction of motion. The actors moaned, groaned, hissed and made surrealistic animal noises. Do we think of Lear as an arrogant red-hotheaded old king...
...exploration-from the comic-erotic novel Supermale-of sexual excess pursued to the point of agony and death. Demonstrating incidentally that the body costumed can be more profoundly arousing in theater than the body naked, Jarry on sex as produced by Barrault is visually delightful, intellectually provocative, closer to Sade's black understanding than to Tynan's slick preaching...
...black beret. Arab guerrillas sometimes name combat operations in his honor. Posters of Che adorn dorm walls from Berkeley to Berlin, and his books have become basic-training manuals for the New Left. Writers from Graham Greene to Susan Sontag have extolled him. West German Playwright Peter Weiss (Marat/ Sade) has even compared him to "a Christ taken down from the Cross...
...Downey does evidence some glimmer of talent. His settings have the blinding, sun-washed aspects of Marat Sade. His mad, scatological songs could have been copied from the walls of Greenwich Village urinals; they are funny nonetheless. And in one scene there is authentic wit. A prisoner in black tie and dinner jacket (Harry Rigby) gazes at the dogs and whines: "What am I doing here? I'm a penguin." As he dies, his final dream is of a formal party complete with glacial ice cubes and attended by the great auk of Manhattan nightlife, Julius Monk...
...perfect image for the contents. An older man and a girl, dressed in what appears to be nightshirts, are dancing a sort of ring-around-a-rosy. Despite clasped hands, the two are curiously abstracted. Their eyes do not meet. Their smiles do not match. A vaguely Marat/ Sade promise of violence seems to be in the air. The manic energy of the dance generates no gaiety, no warmth. This is a social act in a vacuum-dance seen as antic pathological spin...