Word: serpenting
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States of Being. The acting company, known as the Manhattan Project, uses techniques somewhat similar to those of the Open Theater (The Serpent, Terminal), though with a far more liberal use of language. The techniques involve sounds, mimicry, a constant awareness of the body in action (without nudity) and an accordion-like expansion or contraction of an episode or scene in order to isolate moving centers of psychological truth. It is selective rather than narrative drama. It does not chronicle an action; it creates states of being and feeling. In Alice, the playgoer encounters states of dread, of sexuality...
...trap. In one collage that he made for Agnete Lind, the child of Louise Lind, one of his early unrequited loves, a snake shares the page with one of Andersen's own book covers, a sketch of an audience and a blue cutout doily. It is the serpent in Eden. "This," Andersen scribbled under it, "is the snake of knowledge, representing both good and evil." The dilemma of coming to grips with any work of art became the subject of another image, "Art and the Critic"-a fop peers through a lorgnette at a mocking head faceted with many...
Ceremony of World Birth. But Cambridge audiences came to see the original works developed in ensemble by the Open Theater: Terminal and The Serpent. Death is the deliberative theme of Terminal, but as with Endgame, there was a paradoxical buoyancy to the brief evening (playing time: a little over an hour). In fact, the moments that pretended to morbidity were the moments that failed−most conspicuously, a deadpan lecture on the art of embalming and a rather derivative attempt to dramatize dying, American-style, as an induction center through which the imminent dead get processed like draftees...
...Serpent, loosely based on Genesis, all the lyricism latent in the Open Theater comes out. To begin their ceremony of world birth, barefoot members of the company squatted in the aisles of the antiseptically modern Loeb Theater. With a slow crescendo of whistles, tin-klings and click-clacks, they signaled to one another, and to the audience they had infiltrated like Indians, that the creation indeed...
...rhythms of life−sometimes sweet, more often jerking and spastic−are the raw material this remarkable company plays with. As for words, "Whatever I know, I know it without words," says The Serpent. Tactile and immediate, the Open Theater uncannily reflects the present-day audience−inarticulateness, frustration with words, an instinct to feel rather than explain, a deep nostalgia for a preverbal lost innocence...