Posts tagged performing arts
Posts tagged performing arts
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Cast members from “Comedy of Errors” in the final University theatre production held on the upper floors of the Z. Smith Reynolds Library.
Following the last curtain call for Shakespeare’s “Comedy of Errors” on April 24, 1976, some 200 veterans of the campus stage gathered in Studio 8 East on the eighth floor of the library for two final acts. (An adjoining oval theatre was called Studio 7 West.)
Theatre alumna and minister Sandy Ellis-Killian (’72) “exorcised” the “theater ghost” — a mischievous spirit blamed for any problems that happen during a play — and coaxed it into a blue bottle.
Then students and alumni removed the stage’s maroon curtain — brought over from the Old Campus by the late Professor Franklin Shirley — so that “it would never open on any other actors,” recalls Professor Emeritus of Theatre Harold Tedford (P ’85, ’91).
Actually, I’ve been hearing/reading a great deal regarding the highly anticipated Not I returning to the Royal Court Theatre with Lisa Dwan (trained by Billie Whitelaw herself) in the role of Mouth. If I’m not mistaken, it opens today (May 21). The venue will mark the 40th anniversary of the 1973 British premiere production. It will close on May 25 (brief run because it’s on tour, so if you miss it at the RC, then it’s likely to be onstage somewhere else in the UK soon after).
Hope this is of help to you.
I can message you in the near future if/when I remember, in greater detail, other upcoming UK Beckett productions.
Take Care,
Cam
What is that unforgettable line?
Samuel Beckett, Happy Days
(via szer-glonojad)
(Source: cigarettes-and-empathy)
Quadrat I+II (Samuel Beckett, 1982)
Samuel Beckett, Endgame
Actress Lisa Dwan explains how she performs one of theatre’s most challenging roles, as Mouth in Samuel Beckett’s short play, Not I.
As stage plays go, there’s nothing quite like Samuel Beckett’s Not I.
In a pitch-black space, a disembodied female mouth floats 8ft (2.5m) above the stage lit by a single beam of light and speaks, as Beckett directed, “at the speed of thought”.
Language, under these conditions, is a highly ambiguous commerce. So often, below the words spoken, is the thing known and unspoken. My characters tell me so much and no more, with reference to their experience, their aspirations, their motives, their history. Between my lack of biographical data about them and the ambiguity of what they say there lies a territory which is not only worthy of exploration but which it is compulsory to explore. You and I, the characters which grow on a page, most of the time we’re inexpressive, giving little away, unreliable, elusive, evasive, obstructive, unwilling. But it’s out of these attributes that a language arises. A language, I repeat, where, underneath what is said, another thing is being said.
Harold Pinter
(via sevratiosvald)
We have heard many times that tired, grimy phrase, ‘failure of communication,’ and this phrase has been fixed to my work consistently. I believe the contrary. I think that we communicate only too well in our silence, in what is unsaid, and that what takes place is continual evasion, desperate rear-guard attempts to keep ourselves to ourselves. I’m not suggesting that no character in a play can ever say what in fact he means. Not at all. I have found that there invariably does come a moment when this happens, where he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back.
Harold Pinter
(via sevratiosvald)
You want to be like
It’s like
Experience is a paltry thing. Everyone has it and will tell his tale of it. I leave experience to psychological interpreters, the wetdream world. I myself can do any graph of experience you wish, to suit your taste or mine. Child’s play. The present will not be distorted. I am a poet. I am interested in where I am eternally present and active.
