Word: sellarsization
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Dates: during 1980-1989
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To bury a dead character, Peter Sellars '80 dug up the floor of a tiny room in the basement of Adams House, where he staged Beckett's "Happy Days." Sellars is also remembered for a production of "Antony and Cleopatra" on a raft in the Adams House Swimming pool.
The same wasteland set directs all attention to the actors, who usually cannot handle the responsibility. This is not entirely their fault: Sellars, whose theatrical forte is opera, directs them in a stagnant, grandiose style which quickly overdoes it, as in a knights' dance which starts amusingly and continues until...
SOME HARVARD PRIMA DONNAS used to grouse that Sellars treated them like his hobby, puppets. Sellars' novel device in Pericles actually does just that--turns actors into puppets, using plastic masks on the evil characters. The technique produces an eerie, sinister effect; the masks, sometimes grotesque, sometimes animal, sometimes human...
As both Artistic Director and Patron for the Boston Shakespeare Company. Sellars' commitment to Pericles and his perspective on it must result from much work, yet his points get lost in an amateur hodge-podge of avant-garde theatricality. He sacrifices crucial substance for a vapid style, believing his messages...
Few can rival Sellars in knowledge of the visual, musical and theatrical arts. With this knowledge, he combines thematic insights and a knack for manipulating the stage. His dedication and achievements rank him an artist of the greatest integrity. But when people neither understand nor enjoy his production, what is...