Archive for the ‘Theater’ Category

Tony Harrison/Fram

Tuesday, September 30th, 2008

Fram does rise up from the frozen world, uncrushed. The ship, the play, the “craft,” which is both the ship and poetry, sails on, forward, into the sacred space, where inspi­ra­tion and despair — the song and the scream — can come together, and embrace.

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Helen Pond and Herbert Senn

Sunday, December 1st, 1996

Boston Ballet’s new Nutcracker sets are the work of a designing couple, Helen Pond and Herbert Senn, who live in a Gothic house in Yarmouth­port which they have fully restored with Gothic carving, painted ceil­ings and “lots and lots of quadri­foils,” says Herbert. “We designed the house and the Nutcracker at the same time. Nutcracker is my life.”

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A Midsummer Night’s Dream

Thursday, September 12th, 1996

Shake­speare’s A Midsummer Night’s Dream is about a royal wedding, lovers lost in an enchanted forest, magic spells, and fairy sprites. But mostly it is about imag­i­na­tion. In the course of the play, as the char­ac­ters move in and out of the world of dreams, certain words repeat over and over again: Fancy. Imag­i­na­tion. Dream. Vision. Trans­ported. Trans­fig­ured. Trans­formed.

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When We Dead Awaken

Thursday, February 21st, 1991

A neon blue river of light crosses the stage on a diag­onal. A black moun­tain looms beyond, pierced by a stark white water­fall. The sculptor sits brooding on a rocky throne; an egg-shaped stone is pierced with a spear. Two Irenes enter, and lie on the ground, like stones. “You have killed my soul,” they cry. “I am an artist!” cries the sculptor. One Irene sits on the rock, like a statue. “I was a human being too.”

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The Sound Artist: Hans Peter Kuhn

Monday, February 18th, 1991

Sound art is more open and much closer to life than music. Music is a filtered expe­ri­ence. I’m not a composer. I don’t want the emotional view bound or directed in any one direc­tion. I want to keep it open. I’m always trying things out. I hear some­thing and I can pick it up and react in minutes. I’m inter­ested in every­thing that makes a noise.”

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Robert Wilson’s Vision

Thursday, January 17th, 1991

ROBERT WILSON’S VISION is struc­tured like a journey — a journey that moves from morning to night — from white to black — from the past to the future — from birth to death. A journey that has no begin­ning and no end, but all takes place in a time­less, endless present.

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Madame de Pompadour

Friday, June 1st, 1990

Madame de Pompadour always managed to look graceful, even in the most constricting clothes — corsets, bustles, and stays. Like Madonna, she created a Look that was supremely arti­fi­cial — the powdered hair, the heavily applied make-up, the elab­o­rate gowns. Like Madonna in her John-Paul Gaultier bustiers, La Pompadour in her negligée proudly displayed her sexu­ality as the source of her power.

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Robert Whitman

Sunday, January 14th, 1990

The canvas curled back like a white wave. The light turned red. Silhou­ettes of dancers moved through the white space like brush­strokes moving across a picture plane. The light turned white. The ceiling rippled and billowed. Silence. White light. I was taking notes, and the only sound I could hear was the sound of my own writing. It was over.

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