Friday, February 17, 2006

2/17 Aquila Theatre's HAMLET

Not going to write much because it's late and it was such a disappointing production. Seemed like a brain-dead production from a directorial point of view: no ideas there. Felt like the director phoned it in; went for the easiest, most obvious, most superficial choices almost all the time, and then, when an unusual choice was made (incorporating aspects of Q1, certain line readings, dumbshows between scenes, and ALL the cutting and pasting choices) it was invariably an unfortunate choice, in part because there seemed to be no overriding reason behind it.

Actually, there seemed to be one idea that I could see (and regret): I think Hamlet was supposed to start out as a very young, callow, not-terribly-bright boy and mature through the action. Actually, if that was the idea, the actor did a fairly decent job of it. Trouble was, the first half of the play was boring and uninvolving because Hamlet seemed to have no interior life or even much of a thought process. Made the soliloquies awful. In the second half, he seemed to be much more on target and find some depth and honesty and I thought he might be quite a good actor after all. If he had been allowed to start where he ended and develop from there, he might have really found something.

There were other reasons I disliked the production. The acting was uneven, to say the least. The staging was nicely pared down but didn't help the actors. The zombie Ghost through the scrim at the rear was a really unfortunate choice, especially when the spill light illuminated the poor actor trying to sneak offstage during the Closet scene (in a red coat!). Really horrible. The story was pretty mangled even though the idea seemed to be: let the actors speak the words and the story will take care of itself. But (for example), as Hamle dies he says "...the election lights on Fortinbras"--but there has been absolutely no mention of Fortinbras before then. Poor folks seeing the play for the first time must have been really confused.

The main problem for me was there seemed to be no reason to be doing the play beyond the fact that it was a classic that people would feel obligated to attend (the WORST POSSIBLE REASON). No attempt to explore the mystery, the absolute strangeness of the play. No attempt to breathe new life into it. No recognition that, for some of us anyway, over-familiarity was going to be an obstacle and the challenge was to plumb its depths (practically unavoidable for Hamlet, but neatly avoided in this production.

Enough. Except to note that almost the entire audience jumped to their feet for the obligatory standing ovation. Is it just me?

Sunday, February 12, 2006

2/12/06 Theatre thought

Theatre thought: two ways of un-linking theatre from representation:

1) avant-garde: creating images which resonate with the observer but don't represent specific signifiers or aren't so constrained by their context that the observer can't freely associate; immediate impact of sensory stimulation which may be (loosely) tied to a fictional framework.

2) eliminating the virtual in favor of the actual: the "style" of what happens may be that of natural behavior and recognizable, the event may (must?) be transparent and coherent, but all indications of fiction are avoided: what takes place is what is really taking place. Breakdown of performer/observer distinction (always?).

How are these two categories different?

At what point does an obvious representation (image, music, word or words, allusion) distance the observer to the point of passivity and "deaden" the event? Is it a question of structure? Structuring the event to allow for periods of unpredictability in which the observers determine what will happen? (sounds like "Sally's Rape")

Saturday, February 11, 2006

2/11/06 hope and optimism

Reading: Largo Desolato, Havel
"Swamp Nurse" in New Yorker, 2/6/06

Listening to: Wally Shawn read his The Fever

Reflecting upon: Disturbing the Peace, Havel; An End to Suffering, Mishra

Thinking about change and hope. Havel makes the important distinction between hope and optimism, which, I guess, allows him to be happy even while being realistic. Realistic about the possibility of conditions every getting any better? Seems to me that I've sought happiness over most of my life by choosing not to pay attention to the larger world in any serious way. Something very early on taught me to look at investing my energy in any meaningful social change was futile and a formula for personal unhappiness, and I've chosen not to do it. For some reason, I've been changing, becoming more sensitive to issues of social (in)justice, feeling more and more urgency even while feeling less and less optimistic about contributing toward any meaningful change. Why? Is this a direction toward or away from wisdom?

Change. Havel and Mishra seem to agree that it can only happen meaningfully on a spiritual/existential level within the heart--though that thought didn't prevent Havel from speaking loudly and clearly on a very public stage. But maybe happiness lies in knowing that it's possible to commit simple acts of kindness and to speak what seems at the time to be the truth.

Havel stresses the concrete over the ideological or theoretical: an absolute commitment to concrete goals.

Reading the New Yorker article about nurses working with very poor young mothers in south Louisiana: an example of a practically hopeless situation in which some people manage to keep at it and don't burn out. One nurse supervisor says that, in order to keep at it, you've really got to like these people you're working with...

I think for me, working closely with individuals--and not faking it--is the only way to make a contribution. Signing petitions, organizing, reading the NYT everyday just won't cut it alone, and is probably unsustainable.

But somewhere, I've still got to have hope that things can get better. Incrementally. Within a given span of time (not to short but not too long, either).

Thursday, February 09, 2006

2/9/06 from Havel's "Disturbing the Peace" and "The Power of the Powerless"

Vaclav Havel, Disturbing the Peace (1986, trans. by Paul Wilson)
“. . . I’ve never been a politician and never wanted to be. Even as a playwright, I’ve always believed that each member of the audience must sort the play out himself, because this is the only way his experience of it can be made authentic; my job is not to offer him something ready-made.” (p.8)

“. . . I came to understand . . . that theatre doesn’t have to be just a factory for the production of plays or, if you like, a mechanical sum of its plays, directors, actors, ticket-sellers, auditoriums, and audiences; it must be something more: a living spiritual and intellectual focus, a place for social self-awareness, a vanishing point where all the lines of force of the age meet, a seismograph of the times, a space, an area of freedom, an instrument of human liberation. I realized that every performance can be a living and unrepeatable social event, transcending in far-reaching ways what seems, at first sight, to be its significance.” (emphasis mine) (p. 40)

“. . . the electrifying atmosphere of an intellectual and emotional understanding between the audience and the stage, that special magnetic field . . . “ (p. 40)

“ . . . (By the way––and I don’t know exactly why this is, and someday I’m going to have to give some thought to it––an inseparable part of the kind of theatre I’ve been drawn to all my life is a touch of obscurity, of decay or degeneration, of frivolity, I don’t know quite what to call it; I think theatre should always be somewhat suspect.)” (p. 43)

"I should probably say that the kind of hope I often think about (especially in situations that are particularly hopeless, such as prison) I understand above all as a state of mind, not a state of the world. Either we have hope within us or we don't; it is a dimension oof the soul, and it's not essentially dependent on some particular observation of the world or estimate of the situation. Hope is not prognostication. . .
"Hope, in this deep and powerful sense, is not the same as joy that things are going well, or willingness to invest in enterprises that are obvioulsy headed for early success, but, rather, an ability to work for something because it is good, not just because it stands a chance to succeed. The more unpropitious the situation in which we demonstrate hope, the deeper that hope is. Hope is definitely not the same thing as optimism. It is not the conviction that something will turn out well, but the certainty that something makes sens, regardless of how it turns out." (p. 181)

"My ambition is not to soothe the viewer with a merciful lie or cheer him up with a false offer to sort things out for him. I wouldn't be helping him very mch if I did. I'm trying to do something else: to propel him, in the most drastic possible way, into the depths of a question he should not, and cannot, avoid asking; to stick his nose into his own misery, into my misery, into our common misery, by way of reminding him that the time has come to do something about it. The only ways out, the only solutions, the only hopes that are worth anything are the ones we discover ourselves, within ourselves, and for ourselves. . . . Theatre ought to be--with God's help--theatre. And one way of helping people is by reminding them that the time is getting late, that the situation is grave, that it can't be ignored." (p. 199)

"Face to face with a distillation of evil, man might well recognize what is good. By showing good on the stage, we ultimately rob him of the possibility of making such a recognition himself--as his own existential act." (p. 199)
-----------------------
from Havel-related website: livinginthetruth.com
"There are no exact guidelines. There are probably no guidelines at all. The only thing I can recommend at this stage is a sense of humor, an ability to see things in their ridiculous and absurd dimensions, to laugh at others and at ourselves, a sense of irony regarding everything that calls out for parody in this world. In other words, I can only recommend perspective and distance. Awareness of all the most dangerous kinds of vanity, both in others and in ourselves. A good mind. A modest certainty about the meaning of things. Gratitude for the gift of life and the courage to take responsibility for it. Vigilance of spirit." (Havel upon receiving the Open Society Prize awarded by the Central European University in 1999, trans. by Paul Wilson)
---------------------------


The Power of the Powerless: Citizens against the state in central-eastern Europe. Vaclav Havel et al. Palach Press, 1985
Václav Havel's "The Power of the Powerless"-- excerpts from Havel's essay:

"...the Soviet bloc is an integral part of that larger world, and it shares and shapes the world's destiny. This means in concrete terms that the hierarchy of values exising in the developed countries of the West has, in essence, appeared in our society (the long period of coexistence with the West has only hastened this process). In other words, whate we have here is simply another form of the consumer and industrial society, with all its concomitant social, intellectual, and physchological consequences." (p. 26-27)

"Ideology is a specious way of relating to the world. It offers human beings the illusion of an identity, of dignity, and of morality while making it easeier for them to part with them. As the repository of something 'supra-personal' and objective, it enables people to deceive their conscience and conceal their true position and their vaingloriuus modus vivendi, both from the world and from themselfves. It is a very pragmatic, but at the same time an apparently dignified, way of legitimizing what is above, below, and on either side. It is directed towards people and towards God. It is a veil behind which human beings can hide their own 'fallen existence', their trivialization, and their adaption to the status quo. It is an excuse that everyone can use, from the greengrocer, who conceals his fear of losing his job behind an alleged interest in the unification of the workers of the world, to the highest functionary, whose interest in staying in power can be cloaked in phrases about service to the working class. The primary excusatory function of ideology, therefore, is to provide people, both as victims and pillars of the post-totalitarian system, with the illusion that the system is in harmony with the human order and the order of the universe." (28-29)

". . . while life, in its essence, moves towards plurality, diversity, independent self-constitution and self-organization, in short, towards the fulfillment of its own freedom, the post-totalitarian system demands conformity, uniformity, and discipline. While life ever strives to create new and 'improbable' structures, the post-totalitarian system contrives to force life into its most probable states. The aims of the system reveal its most essential characteristic to be introversion, a movement towards being ever more completely and unreservedly itself, which means that the radius of its influence is continually widening as ell. This system serves people only to the extent necessary to ensure that people will serve it." (pp. 29-30)

"In highly simplified terms, it could be said that the post-totalitarian system has been built on foundations laid by the historical encounter between dictatorship and the consumer society. Is it not true that the far-reaching adaptability to living a lie and the effortless spread of social auto-totality have some connection with the general unwillingness of consumption-oriented people to sacrifice some material certainties for the sake of their own spiritual and moral integrity? With their willingness to surrender higher values when faced with the trivializing temptations of modern civilization? With their vulnerability to the attractions of mass indifference? And in the end, is not the greyness and the emptiness of life in the post-totalitarian system only an inflated caricature of modern life in general? And do we not in fact stand(although in the external measures of civilization, we are far behind) as a kind of warning to the West, revealing to it its own latent tendencies?" (pp 38-39)

"Individuals can be alienated from themselves only because there is something in them to alienate. The terrain of this violation is their authentic existence. Living the truth is thus woven directly into the texture of living a lie. It is the repressed alternative, the authentic aim to which living a lie is an inauthentic response." (p 41)

". . . today people feel that the less political political policies are derived from a concrete and human 'here and now' and the more they fix their sights on an abstract 'some day', the more easily they can degenerate into new forms of human enslavement.
. . .
"To shed the burden of traditional political categories and habits and open oneself up fully to the world of human existence and then to draw political conclusions only after having analysed it: this is not only politically more realistic but at the same time, from the point of view of an 'ideal state of affairs', politically more promising as well. A genuine, profound and lasting change for the better -- as I shall attempt to show elsewhere -- can no longer result from the victory (were such a victory possible) of any particular traditional political conception, which can ultimately be only external, that is, a structural or systemic conception. More than ever before, such a change will have to derive from human existence, from the fundamental reconstitution of the position of people in the world, their relationships to themselves and to each other, and to the universe. If a better economic and political model is to be created, then perhaps more than ever before it must derive from profound existential and moral changes in society. This is not something that can be designed and introduced like a new car. If it is to be more than just a new variation on the old degeneration, it must above all be an expression of life in the process of transforming itself. A better system will not automatically ensure a better life. In fact the opposite is true: only by creating a better life can a better system be developed." (p. 52)

"The first conclusion to be drawn, then, is that the original and most important sphere of activity, one that predetermines all the others, is simply an attempt to create and support the 'independent life of society' as an articulated expression of 'living within the truth'. In other words, serving truth consistently, purposefully and articulately, and organizing this service. This is only natural, after all: if living within the truth is an elementary starting point for every attempt made by people to oppose the alienating pressure of the system, if it is the only meaningful basis of any independent act of political import, and if, ultimately, it is also the most intrinsic existential source of the 'dissident' attitude, then it is difficult to imagine that even manifest 'dissent' could have any other basis than the service of truth, the truthful life and the attempt to make room for the genuine aims of life." (p. 67)

"There are times when we must sink to the bottom of our misery to understand truth, just as we must descend to the bottom of a well to see the stars in broad daylight. It seems to me that today, this 'provisional', 'minimal' and 'negative' programme -- the 'simple' defense of people -- is in a particular sense (and not merely in the circumstances in which we live) an optimal and most positive programme because it forces politics to return to its only proper starting point, proper that is, if all the old mistakes are to be avoided: individual people. In democratic societies, where the violence done to human beings is not nearly so obvious and cruel, things will probably have to get worse there before the urgent need for that revolution is reflected in politics." (p. 68)

"The 'dissident movements' do not shy away from the idea of violent political overthrow because the idea seems too radical, but on the contrary, because it does not seem radical enough." (p. 71)

"Demanding that the laws be upheld is thus an act of living within the truth that threatens the whole mendacious structure at its point of maximum mendacity. Over and over again, such appeals make the purely ritualistic nature of the law clear to society and to those who inhabit its power structures. They draw attention to its real material substance and thus, indirectly, compel all those who take refuge behind the law to affirm and make credible this agency of excuses, this means of communication, this reinforcement of the social arteries outside of which their will could not be made to circulate throughout society." (p. 76)

Saturday, February 04, 2006

2/4/06 From reading (not theatre)...

"... the eternal and exclusive process of becoming, the utter evanescence of everything real, which keeps acting and evolving but never is, as Herclitus teaches us, is a terrible and stunning notion. Its impact is most closely related to the feeling of an earthquake, which makes people relinquish their faith that the earth is firmly grounded. It takes astonishing strength to transpose this reaction into its opposite, into sublime and happy astonishment."
-- Nietzche,
Philosophy in the Tragic Age of the Greeks (quoted in Mishra, An End to Suffering: The Buddha in the World)

Thursday, February 02, 2006

2/3/06 good thought

"Only people who believe they can do what is impossible to be done can embark on projects that can lead to change," Lerner tells his audience. "I don't think any theater project ever changed anything, but the illusion is very important."
-- from article on Motti Lerner, Israeli playwright, on his provocative play "The Murder of Issac" to open at Baltimore Center Stage. Play is set in an Israeli hospital for PTS patients who decide to stage the assassination of Rabin.