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Tag: Theatre

  • Wes Anderson’s Arrested Development

    My immediate reaction to Wes Anderson isn’t hatred, love, or even annoyance. It’s jealousy. After scorn-filled years spent perceiving him as a threat to my personal identity, this is the unsophisticated truth. I am not jealous of the fact that his films exist, it’s not the envy of an artist to another’s success and popularity. Instead I’m jealous that I don’t belong to the group that’s thrilled and inspired by his work. I want Anderson’s anti-authority themed films to matter to me (an anti-authority themed person), in a significant, or at least delightful way, and I’m frustrated that they don’t. And though he has his critics, it feels lonely not to fall in love with Wes Anderson.

    In his new film, Moonrise Kingdom, two kids, Sam (Jared Gilman) and Suzy (Kara Hayward) fall in love and run away in the summer of 1965. Sam is an orphan and a boy scout. Suzy is a redhead with blue eyeshadow. The adults in their respective lives chase after the two: Suzy’s parents (Francis McDormand and Bill Murray) and Sam’s scout master and town sheriff (Edward Norton and Bruce Willis). The young lovers do their best to evade capture and defend their romance on beautiful overly-crafted sets meant to look exactly like overly-crafted sets. Moonrise is an extremely good looking movie, and its mood is powerful and infectious, but for me it was never more than inspiration for new eyeshadow or the urge to more carefully coordinate the colors in my kitchen…

    Continue Reading at The New Inquiry

  • The Cinema: Deadly & Holy

    The other night, in a sleepless mania not unfamiliar to me, I rummaged through all my old school papers. They were abysmal, as unfortunately all academic writing is, but I paused self-beration to read one paper in particular. I remember it was handed in for extra credit in a last attempt to pass Dramaturgy. In it I reviewed theatre and film director (Marat/Sade) Peter Brook’s fantastic book The Empty Space and his categorizations of the theater: Holy, Deadly, Rough, Immediate. And as I trudged through my soulless, double spaced writing it suddenly occurred to me that these categories could be applied to the cinema. With the exception of the Immediate, they really are applied quite neatly, and I admit this gives me great pleasure. When things click together, the feeling is one of such satisfaction, it tips into sordidness. When this happens suspicion is the key in saving yourself from obnoxiousness. Fitting pieces of a puzzle together is satisfying, but always mock your vulgar fondness for completing puzzles in the first place.

    I will try to split the word [theatre] four ways and distinguish four different meanings—and so will talk about a Deadly Theatre, a Holy Theatre, a Rough Theatre and an Immediate Theatre. Sometimes these four theatres really exist, standing side by side, in the West End of London, or in New York off Times Square. Sometimes they are hundreds of miles apart, the Holy in Warsaw and the Rough in Prague, and sometimes they are metaphoric: two of them mixing together within one evening, within one act. Sometimes within one single moment, the four of them, Holy, Rough, Immediate and Deadly intertwine. The Deadly Theatre can at first sight be taken for granted, because it means bad theatre. As this is the form of theatre we see most often, and as it is most closely linked to the despised, much-attacked commercial theatre it might seem a waste of time to criticize it further. But it is only if we see that deadliness is deceptive and can appear anywhere, that we will become aware of the size of the problem.

    In this post (part one) I’ll discuss the Deadly and Holy Cinemas. In part two the Rough and Immediate. Can the Immediate be applied to Cinema? I am not so sure. We will see.

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