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Kasuta sisselogimiseks parooli
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Productions
Showcase
Translator Katre Koit
Cast: Liina Vahtrik,Taavi Eelmaa, Erki Laur, Juhan Ulfsak, Karin Lätsim (Estonian National Puppet Theatre), Anu Lillby.
/-/ Few theatre artists since the mid-1990s have caused such a stir in Manhattan's downtown theatre scene as playwright, director, and songwriter Richard Maxwell. Maxwell's productions have been alternately attacked and praised for their flat acting style and inexpressiveness, but there can be little doubt that Maxwell is one of the most innovative theatre artists of his generation. His unique vision has been recognized both nationally and internationally. For his play House, first shown in New York in June 1998, Maxwell was awarded a Village Voice OBIE the following year. His work has also won critical acclaim in Europe where most of his subsequent productions have toured major theatre festivals. Maxwell was also recently invited to direct Shakespeare's Henry IV, Part I at the Brooklyn Academy of Music this fall.
What clearly sets Maxwell's work apart from most contemporary theatre is its minimalist, formally rigorous and anti-expressive style that deliberately runs the risk of being mistaken for heightened amateurism or bad theatre. The settings of Maxwell's plays are always distinctively American and often suburban, though the geographic locations are rarely specified. There is a documentary quality to Maxwell's dialogue that is strongly suggestive of unedited transcripts of overheard conversations between ordinary people. The hypernaturalism of the dialogue, however, is not replicated in the staging. Maxwell's performers tend to render their lines haltingly and without emotional inflection while their movements, gestures, and occasional fight scenes are staged in a stiff, but at the same time, sluggish manner. This deliberate rejection of theatrical mastery is further emphasized by awkward pauses -- moments of "non-acting" -- that function like the continual background static from which the mundane conversations of the protagonists emerge in the first place. Since his protagonists burst into song from time to time, Maxwell's plays are in fact musicals, but of a very different kind than the traditional American musical: The singing in Maxwell's plays is very restrained and formal -- and as stylishly "bad" as the acting.
Maxwell's Showcase is about a businessman who is in town for a conference. Absorbed in conversation with his "shadow" -- which appears in his hotel room -- the businessman tries to come to terms with his past /-/
Markus Wessendorf
Cast: Liina Vahtrik,Taavi Eelmaa, Erki Laur, Juhan Ulfsak, Karin Lätsim (Estonian National Puppet Theatre), Anu Lillby.
/-/ Few theatre artists since the mid-1990s have caused such a stir in Manhattan's downtown theatre scene as playwright, director, and songwriter Richard Maxwell. Maxwell's productions have been alternately attacked and praised for their flat acting style and inexpressiveness, but there can be little doubt that Maxwell is one of the most innovative theatre artists of his generation. His unique vision has been recognized both nationally and internationally. For his play House, first shown in New York in June 1998, Maxwell was awarded a Village Voice OBIE the following year. His work has also won critical acclaim in Europe where most of his subsequent productions have toured major theatre festivals. Maxwell was also recently invited to direct Shakespeare's Henry IV, Part I at the Brooklyn Academy of Music this fall.
What clearly sets Maxwell's work apart from most contemporary theatre is its minimalist, formally rigorous and anti-expressive style that deliberately runs the risk of being mistaken for heightened amateurism or bad theatre. The settings of Maxwell's plays are always distinctively American and often suburban, though the geographic locations are rarely specified. There is a documentary quality to Maxwell's dialogue that is strongly suggestive of unedited transcripts of overheard conversations between ordinary people. The hypernaturalism of the dialogue, however, is not replicated in the staging. Maxwell's performers tend to render their lines haltingly and without emotional inflection while their movements, gestures, and occasional fight scenes are staged in a stiff, but at the same time, sluggish manner. This deliberate rejection of theatrical mastery is further emphasized by awkward pauses -- moments of "non-acting" -- that function like the continual background static from which the mundane conversations of the protagonists emerge in the first place. Since his protagonists burst into song from time to time, Maxwell's plays are in fact musicals, but of a very different kind than the traditional American musical: The singing in Maxwell's plays is very restrained and formal -- and as stylishly "bad" as the acting.
Maxwell's Showcase is about a businessman who is in town for a conference. Absorbed in conversation with his "shadow" -- which appears in his hotel room -- the businessman tries to come to terms with his past /-/
Markus Wessendorf