* 2007
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topics: themes pages *


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* Caligari 2009 - Lul 2010

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2005: Total Acting & Total Directing *
Statements: Sizwe Bansi Is Dead, the Island, Statements After an Arrest Under the Immorality Act/3 Plays
Publisher: Theatre Communications Group (December 1, 1986) ISBN: 0930452615

Notes

Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)
Plus, Virtual Theatre and Book of Spectator!

Web? Oh, this is just medium. Like stage, screen, writing...

Monologue Study: 1 101 * 2 comedy * 3 drama *

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Island PS

A CurtainUp Review

The Island
by Les Gutman

Off the Island to The Island

What is the most powerful political play ever written?

If you ask Athol Fugard (according to The New York Times), he'll tell you it's Sophocles' Antigone. As Lizzie Loveridge's review below explains, that ancient play figures prominently within the play on which Fugard collaborated with the two actors which is now on display at BAM (in the same production).

Lest we question the continuing vitality of the classics, Fugard goes on to point out that Antigone has served the veiled purpose for which it is employed by the two prisoners here on other occasions: as in France during the Second World War, when it was performed by Anouilh before oblivious Nazi officers in the front rows and their more aware French tenants behind them. Some (those sitting in the front rows perhaps) may view The Island in the historical context of its Apartheid origins. They, too, will miss the forest for the trees.

That the world has no fewer oppressors and oppressed now than it did a third of a century ago when Kani and Ntshona won a Tony for their performance cannot be gainsaid. And so an argument can be made that The Island retains a very practical resonance. But the play never had the specifics of Apartheid in its cross hairs. It has always been a play about the human spirit.

As such, it was, is and likely will remain an astonishing work. As the odd couple of John and Winston (the prisoners bear the first names of the two performers) bear down and bear up, we are witness to a remarkable exploration of the nature and expression of humanity. That these two performers are staggering at their craft renders it all the more enriching.

As in London (and elsewhere where it has been seen), this production relies on only the barest of set elements. Against the backdrop of the Harvey Theater's raw surfaces, as stirringly lit by Mannie Manim, it only gains in strength.

Unfortunately, I can't use the text. The full text of the play. Too bad. This play has an unique "political theatre" shape.

And good for "character study" and subtext (the page I must make in directing or acting directories).

Island
StageMatrix: Directing
Island
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