Archive for March, 2011

Quote of the day: THEATER

March 9, 2011

THEATER

The straight realistic play with its genuine frigidaire and authentic ice-cubes, its characters that speak exactly as its audience speaks, corresponds to the academic landscape and has the same virtue of a photographic likeness. Everyone should know nowadays the unimportance of the photographic in art: that truth, life, or reality is an organic thing which the poetic imagination can represent or suggest, in essence, only through transformation, through changing into other forms than those which were merely present in appearance. These remarks are not meant as a preface only to this particular play. They have to do with a conception of a new, plastic theatre which must take the place of the exhausted theatre of realistic conventions if the theatre is to resume vitality as a part of our culture.

— Tennessee Williams, production notes for The Glass Menagerie (1945)

 

In this week’s New Yorker

March 9, 2011

The crunchiest, good-for-you feature in the magazine this week is a long slog — a meticulously reported piece by Raffi Khatchadourian (who wrote the now-famous profile of Julian Assange for the New Yorker) about the clean-up effort after the BP oil spill in the Gulf of Mexico. The takeaway is quite surprising: what sounded like the most heinous and irreparable environmental disaster ever perpetrated by humans has actually been dispersed with remarkably little lasting harm, or much less than anyone feared. This is partly because everyone involved, especially Louisiana residents riding herd on British Petroleum with President Obama weighing in and kicking ass, threw every resource available into the cleanup. But the other hidden bit of information is that ocean has remarkable properties for absorbing and disarming toxic wastes. I keep forgetting that the earth is an organism that has its own quite powerful immune system.

Other than that, I appreciated John Lahr’s reviews of That Championship Season and Good People, which confirmed my suspicions. He especially voices my sentiments about David Lindsay-Abaire as a playwright of the Paint-by-Numbers school.

And the single most delightful story is a second helping from Tina Fey’s forthcoming book Bossypants, “Lessons from Late Night,” which includes my favorite footnote since Mary Roach’s book Bonk. In the section where she says  “the staff of Saturday Night Live has always been a blend of hyper-intelligent Harvard boys…and gifted visceral, fun performers,” she notes, “I say Harvard ‘boys’ because they are almost always male, and because they are usually under twenty-five and have never done physical labor with their arms or legs. I love them very much.”

Quote of the day: NARCISSISM

March 8, 2011

NARCISSISM

It is too simple to think of the narcissist as someone in love with himself. One can detest oneself intimately and still be a narcissist. Mailer on Henry Miller: “The narcissist suffers from too much inner dialogue. The eye of one’s consciousness is forever looking at one’s own action…The narcissist is not self-absorbed as much as one self-absorbed in studying the other. The narcissist is the scientist and the experiment in one…It is not love of the self but dread of the world outside the self which is the seed of narcissism.” I recognize this in myself; the less confident I am, the more intense my narcissism becomes.

— Kenneth Tynan, Diaries

Theater review: THE MAN WHO ATE MICHAEL ROCKEFELLER

March 8, 2011

Designing Man (Daniel Morgan Shelley) wields his sculpting tool at the request of Plentiful Bliss (Tracy Jack) in "The Man Who Ate Michael Rockefeller"

My review of Jeff Cohen’s intriguing play The Man Who Ate Michael Rockefeller, smartly staged by Alfred Preisser, has just been posted on CultureVulture.net. Check it out here and let me know what you think.