Word: senelick
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Harpo's production of Oedipus makes a similar statement about the bogus exaltation of human tragedy to cathartic spectacle, wherein great men fall from pinnacles in the all-seeing determinist universe of the Fates. Director Laurence Senelick has chosen the Seneca version over the traditional Sophocles "to remove the play from the realms of both Freudian psychology and aloof neo-classicism." This may also mean that he has chosen a play which, because of its gore and violence, leads to a denial that there is anything more in suffering than suffering; a denial that tragedy can be uplifting in transcending...
There is also the somewhat cliched analog of Nero's Rome to Nixon's America. We must see violence naked of its grandeur. We must, as Senelick says, leave the theatre unable to speak of the metaphysics of a work a tragedy. We must rather allow ourselves to be immersed in the tragedy and violence itself. This is close to Artaud's Theater of Cruclty, and is certainly viable...
...YEARBOOK'S editors have relied heavily on interviewing this year to get across substantive issues, and the result should warn them against repeating the technique next year. Most of the interview texts are way too long-particularly a multi-page monster with Laurence Senelick, director of HARPO. The book opens with a few pages of comments by Adam Ulam, professor of Government, and Reuben A. Brower, professor of English, who are asked to compare today's students with their ancestors of the early sixties. Their replies produce little of interest, but some of Brower's remarks are worth looking over...
...play is Ben Jonson's BARTHOLOMEW FAIR, a sprawling work with plot tines and characters in a dozen directions at once. It is set against the backdrop of a fair, which was the closest thing the E?zabethans had to a trip. Senelick's got to make all the pieces fit together without letting the gears lock altogether and have the whole delicate Rube Goldberg design collapse. As a comedy, BARTHOLOMEW FAIR is something of a wild creature. As the director. Senelick must find a way to cage it without killing...
...just blown a line. Someone covers quickly and they all just keep going, the momentum spins on. No time to stop until the lights dim and the act is over. Afterwards the performers scatter to the corners of the back room, and sit quietly with their various plaints. Senelick comes in talking to the prop girl. He stops to console it worried P??grim. After a minute he disengages, turns to the group, and adjusts his spectacles...