Word: stagecraft
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Dates: during 1950-1959
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Freeman's poem, in contrast, specifically recognizes the existence of an audience. Certainly the most successful work in this Advocate, it is an hortatory stage whisper to "an audience" accompanied by appropriate rhythmic gestures. The poet succeeds in sharing with his readers some of stagecraft's "dreams," "contrived hallucinations" through which one might "Now in attentive webs, catch rapture fleeting." The sounds are precise, pleasing, and appropriate. The images cast out to the listeners are nearly as fine as the sound that bears them, and there is a welcome humor in the poem's treatment of itself...
...acting is not unduly distinguished, and certain elements of stagecraft seem misguided, it still is very worthwhile in its attempt to put into action Brecht's conception of non-"theatrical" or "epic" drama. The most distinguished element of this production is the well-conceived blocking which gives movement and flow to this esoteric piece of propaganda for the "classless" society...
...forgivable in a small and experimental production, Director Charles Mee has misused and exaggerated Brecht's refreshing approach to stagecraft to such an extent that it seriously detracts from the play. Indeed, Brecht's ideas about "antitheatricality" must be used dramatically, not as an excuse not to sweep the stage. The creamy decor of the bare Agassiz stage with a vista to the light board tends to distract the eye and the attention, rather than to accent the action. The idea of using masque-like make-up is bright and fresh, but the make-up should be carefully and artfully...
Much of what Guthrie said was reworked from the talk, "An Audience of One," which he delivered in London before the Royal Society of Arts five years ago. This lecture was printed in the highly informative anthology Directing the Play: A Source Book of Stagecraft. Those interested in more of Guthrie's ideas or in the opinions of many other eminent directors can find them here...
...bits in the performance which seem to be handled with minor competence. Fredrick Marker's direction fails to sustain any pace or rhythm, or to hold the play together in the light of any unified continuity or insight. His production even lacks the basic and most simple elements of stagecraft, failing to recreate the electric atmosphere of a "tragic" court martial in large part because almost none of the cast have any sense of military bearing or authority. They look and act more like hoods in an all-night card game than naval officers struggling with a very difficult question...