stage view

by:Marslite     2019-10-02
Walter kerrmarch 1975 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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The stage lights are like actors.
For the shortened version of King Lear by Royal Shakespeare, it speaks very well (
Two and a half hours, and most importantly, the husband is missing Goneril and Regan)
The show will continue at the Brooklyn Academy of Music this month.
The work, edited and staged by Buzz Goodbody, was originally prepared for a school audience in strafus, England.
At the academy, it was simply placed in the Lepercq Space on the second floor, and a \"space\" was simple: there was enough space for the actors to move in, whether they are watching the front show on three sides of the audience or actually hovering around them.
Naked floor
The stock that Kent will be imprisoned for, unless occasionally carrying props, is finally Lear\'s chair because he is too broken to stand --
In order to convey the flow of the narrative, the transfer balance of the narrative, the visual design, a little must be done.
The lights of the rescue are beautiful but smart.
If the daughters of Lear gather to hear what an overtrusted father might say, there is no need now to give us the glory of the court.
Everything is suspended, and the greedy daughter is not sure what will happen on this day.
So they are tightly illuminated, and their dubious future is hanging over them.
As King Lear entered, a fire: as no more than two unwound curtains fell from the sky, the golden overflow of the spotlight washed them like a trumpet.
We, and they, suddenly before power, the moment of wealth has come, and the bounty is released by the cloth of light. Simple enough—
But it has the power to shape meaning in easy thrift.
To some extent, it is as simple as the ultimate, incredible moment of violence, at which the eyes of another self, Gloucester, who was virtual in the play, were dug out.
Without a husband on her mission, Reagan had to do it himself (
If the subtleties of Regen\'s manipulation of others to achieve her wild purpose disappear, the weight of responsibility will increase dramatically).
When she pushed down with an open brooch on the crown, half of the lights-
Half of Gloucester\'s worldblink away.
With the second blow, it was dark.
Like Gloucester, the court is now moving forward in the dark
What corridor through, where?
In the story, it is likely that the device will appear to be an obvious device;
However, I don\'t remember seeing it used before and we always had to deal with and suppress entertainment with a bucket of stage blood.
What\'s more interesting is what happens when it\'s a monologue.
This is also a simple transformation.
The lights of the House are not accompanied by the relatively atmospheric lights of the performance scene, but are lifted --
Let the actors and audience share their acquaintance with each other.
This, of course, is the purpose of the monologue all along: frankly acknowledging the reality of drama and sharing confidence with those present.
But our feelings about this sudden intimacy are usually mild: nothing can show us more to the actor, who has done his best and seems to be thinking loudly, instead of expressing his whole thoughts to his only audience.
In this case, there seems to be a fundamental change in the nature of the monologue.
This script seems to have more narrative clues than it pursues.
It is open to comments
Personal, reflective, philosophical
In all the things that have happened, in a broad vision, contains thoughts about what is happening, and what they see in their haste.
The play is not temporarily suspended due to practice;
It seems to be taking a deep breath to fill its lungs with the future, insisting that there is not only a moral text in the center of the page, but that the annotations will most likely increase the broad scope of understanding.
In a word, light can be instructive.
The advertisement also has other provocative uses in this \"King Lear\", as well as some serious mistakes.
There is a \"cool\" area of light at the top of part of the bleachers that helps us isolate reason (too rational? )
Cordelia because she provided her due filial piety, \"not much.
Electrician Brian Harris can set boundaries here: helmeted guards can appear on the edge of this cold mood to prevent the kind Gloucester from helping his stray king.
Disguised Edgar, a undressed madman, seems to have entered the world from under the blood-stained clay, and the traces of birth are moistened and kindly glued to him.
At the same time, advertising this ruthless outer space can be an embarrassing thing, not only because the part of the audience sitting right below it has to do something painful to keep it in sight.
When Edgar hiked the blind Gloucester up the steep plain to the void they were about to live in, he did seem to have let the weak man go through a relentless knock on the old bones.
As the last duel of the show unfolds in the stairwell, the rapper Tinks on the railing, threatening the audience, not two fierce opponents, the strategy is just ridiculous, it\'s worth the laughter it gets.
There is also the problem of voice.
Gaonerill and Edmund are often vague, but at the same time, Lear and Gloucester (
Tony Church and Jeffery Dench)
From the simplest start, they were still so pragmatic in the next harrowings that they lost any sense of accumulating emotional storms in the second half.
At the end of the day, making is at most an efficient exercise that does not like poetry and lacks strength (
Mike Gwilym\'s lithe savvy Edgar was immediately exempted).
But it does know the meaning of training our eyes, especially through light, to see in space.
A long \"night\" of the night called \"Make America famous\" unbearable folk rock concert uses more light than \"King Lear\", I would say,
Tired because it often goes through the control panel: all the people on the stage pop up the flash, CCTV cameras give us the lyrics of a singer on the screen, right next to his apparently open throat, the text and brick walls and the stripes that look guilty are woven in the opposite direction at all times to ensure that the original steps on the floor are not easy to follow.
The music was written by a young man named Harry Chaping, grumpy, and possibly likeable (
Same note, same interval)and lyrics (
It seems to me that this is a fictional prose)
Among them, the nine assistants that Kelly Garnette, Delores Hall and Gilbert Price helped the most.
But the intensity they bring to their dedicated graffiti --
These numbers are about the lonely souls of diners, the relief workers, the singers who can\'t show their talents, all the victims of a system that rises in the Ashes at any time --
It is a kind of intensity of tension that first leads to severe quarrels, and then leads to actual tears as the climax presses out.
Too much, and also admitted to their weaknesses: if there is no such push, will there be applause?
Given that the lyrics go from \"I wake up in my dreams tonight\" to \"they can have their bureau when I follow my Tracks\", this push is certainly understandable (
This last slightly unstable metaphor is related to the women\'s liberation movement)
\"Interstate 80 is now open, behind me, a broken road of dreams, in front of this cold concrete empty slate.
Of course, there will always be \"we have provided a statue for the sake of this blood, and then the pigeons come, \"While I think my own favorite concern is the extreme lamenting of an amateur who is hosting a concert at the Town Hall:\" But the critics are short-meaning were, with only four lines;
He could not accuse them of being too kind.
\"I am very willing to agree, and critics often fail to score points.
I would not agree to rhyme \"kindness\" with \"lines.
\"But the evil state of rhyming decline is not important here.
The real problem, of course, is that the stage lights have never been intended as a cover-up.
King Lear is the abbreviation of Shakespeare\'s King Lear.
At the Brooklyn Academy of Music.
Harry Charbin\'s the night to make America famous.
Small but human.
A version of the file was printed on page X5 of The New York edition on March 9, 1975 with the title: stage view.
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