Word: sade
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Dates: during 1970-1979
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...into this same kind of mental bind. It's somehow very much harder. as someone was saying to me, to communicate with the student reviewer or someone with that attitude than someone who would be totally against the kind of polities we were trying to put forward in Marat-Sade...
...villain is Scott Craig, a freelance film maker with a terminal case of what psychologists call affectlessness. Like a jet-set Sade, he rushes around the world anxiously seeking aesthetic forms through which to resolve his conflicts and act out his sexual obsessions. Craig's films include features about his secretary's sensuous mouth, copulating dolphins, even a reel starring a belly dancer's navel that smiles, frowns, bites and becomes a puckered keyhole through which a documentary collage of 20th century horrors may be ogled. Out of context, the man sounds comical. But the harder...
...meat of the play as it is scripted-the interplay of Sade's world view and Marat's-comes off poorly. The abstract discussions of what the revolution was about, where and why it failed. and what the failures mean about mankind. remain abstract. unembodied in subtler means of expression. What makes this production so fine are the performances of the lesser characters-the inmates... "the people" in metaphor. These roles are largely non-verbal, and Director Charles Bernstein has achieved with his very raw staging (no lights, props, or costumes, and no raised stage) a Grotowski energy level without...
...Marat/Sade moves through different contexts of reality. It is a play about a play in which psychotics (Marat is played by a paranoiac who is in turn played by John Mckean) act out Sade's own recreation of the Revolution. Occasionally one can get lost somewhere in between the levels. To this, Bernstein has added a particular jolt by having William Liller, Master of Adams House, play Coulmier, Master of the Charenton asylum. Liller is a natural...
...most exciting thing about the production was the way it approached the metaphysical interplay of Marat and Sade. They are treated almost as pure dialectical forms (the lack of personality, in the two helps here). The struggle of the two theses moves with the dialogue into the minds of each member of the audience. They wage war; the dialectical revolution, spoken of in the play as "the revolution which burns up everything in blinding brightness, will only last as long as a lighting flash...