Posts Tagged ‘theater’

Quote of the day: THEATER

December 8, 2013

THEATER

Alisa Solomon: You’re using children as the Fairies — right? — or the Elementals, as you are calling them.

Julie Taymor: Yes, there are 20 prepubescent kids. They not only play the Fairies, as written, but also play the forest. They’re the trees, the creatures, dogs, does, snakes, bats, moths. They are the wind, they’re your mind. They’re Puck’s posse, who terrorize the Mechanicals when Bottom changes. They’re an incarnation of the emotions of the lovers. They’re the nightmare of Hermia. They are the elements.

Solomon: Were you jumping off of the scholarly conjecture that historically, in the original production, the Fairies were indeed played by children?

Taymor: No, I don’t care what other productions did, though I would imagine that they would have been children. I think it works better with children, just the idea of it, the energy. Most initiation ceremonies all over the world are when you’re 13 or so, when you finally start to have sexuality that is recognizable and separates boys from girls, and they have to control their nature. That’s what we call it: our nature. So I wanted that feeling. What has been amazing in the rehearsals with these kids is the sheer joy they get out of a trap opening, or a line coming down. I mean, seriously, the unfettered, sheer, pure, direct emotion.

Solomon: Isn’t that the thrilling thing that theater lets all of us do — I mean, don’t we get to have that sort of childlike wonder?

Taymor: Well, that’s what I hope. It goes to a DNA part of us that relates to the first shadows on the wall that were made into foxes and rabbits. Where we suspended our disbelief and we said: “Oh yes, I know it’s a hand with a light behind it casting a shadow; but no it’s not, it’s a fox, it’s a rabbit.”

— Julie Taymor interviewed by Alisa Solomon about her production of A Midsummer Night’s Dream

MIDSUMMER-art-website

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)

 

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