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~Lagfblll COMPANIES INC May 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 BAM 2000 Spring Season is sponsored by PHiliP MORR I S ~lAGfBlll COMPANIES INC. Contents • May 2000 Lust in the Woods 10 The Royal Shakespeare Company presents Shakespeare's A Midsummer Night's Dream at BAM in a saucy production by Michael Boyd. By Ian Shuttleworth Schiller's Shocker 22 Friedrich Schiller's riveting Don Carlos , to be performed by the Royal Shakespeare Company at BAM, still has the power to ruffle feathers. By Steven R. Cerf Program 17 Upcoming Events 43 BAMd i rectory 52 Photo by Jonathan Doc kar-Drysdale I3A 1\/1 CO\/Ar Arti,t Saint Clair Cemin Saint Clair Cemin was born in Cruz Alta , Brazil , in 1951. He studied at the Ecole Nationale L'lntuition de L'lnstant Superieure des Beaux Arts in Paris, France. He lives in New York City. 1995 Painted wood Cemin's sculpture has been exhibited worldwide, including at the Hirshhorn Museum and 97" x 91 ' x 36' Sculpture Garden, Smithsonian Institution, Washington, DC; Museo de Arte Contemporary, Monterey, Mexico; California Center for the Arts Museum , Escondido, CA; Centro Cultural For BAMart information Light, Rio de Janiero, Brazil; Birmingham Museum of Art, Birmingham, AL; The Arts Club of Chicago, Chicago, IL; Stadische Kunsthalle, DUsseldorf, Germany; The Fredrik Roos contact Deborah Bowie at Museum, Malmo, Sweden; Stedelijk Museum, Amsterdam, Netherlands; Whitney Museum 718.636.4111 ext. 380 of American Art Biennial, New York, NY; Centro Atlantico de Arte Moderno, Las Palmas, Grand Canary Island; Documenta IX, Kassel, Germany; 22nd Biennial International, Funda,ao de Sao Paolo; Galleria Communale d'Arte Moderna, Bologna , Italy; Fogg Art Museum , Cambridge, MA; and the Kunsthalle, Basel, Switzerland. His work is included in the collections of the Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; Fonds National d'Art Contemporain, Paris; Rooscum, Stockholm; the Broad Foundation , Los Angeles. He has executed many private and public commissions including the Reston Town Center, Reston, VA, and the Fountain House, New York City. In 1995 he received the Biennial Award from the Ueno Royal Museum and the Hakone Open-Air Museum in Japan. A major monograph will be published on his work, and a book of his writings will be published in 2000. In addition, the first volume of his catalogue raisonne is now being prepared. 6 Director Michael Boyd creates a In the Indo-European ur-Ianguage from which many modern tongues are descended, there was labyrinth of lust in A Midsummer originally no verb "to be"; it evolved from an earlier Night's Dream, to be presented by verb meaning "to be lost in the woods." When I mention this to Michael Boyd, he is fascinated. He the Royal Shakespeare Company explains that his approach to directing the acclaimed Royal Shakespeare Company produc­ at BAM. tion of A Midsummer Night's Dream (which is one By Ian Shuttleworth of three plays on show during the RSC's residency at the BAM in May) began from the premise that "a good artist doesn't do things for no reason. Shakespeare didn't send these people into the woods for no reason. So something should happen in the woods. Then there's an After, and a Before; and what's the difference between them? The After felt a bit more chaotic, warm, and human, and the Before felt quite beautiful but very formal and much, much colder. " For Boyd, it was important to create a sensation of entering the woods, somehow connected to "an act of imagination." "I wanted it to be done Oberon and Titania Photo by Donald Cooper before our very eyes," says Boyd, "so when Bot- tom is fooling around on his own after the other became a succes de scandale, after one school mechanicals have gone [at the end of their first teacher was so shocked that he marched his scene], playing at being different kinds of heroes, charges out of the theater. Boyd , who was out of the last one is a Robin Hood/Ken Branagh type the country at the time, was less than happy with with an imaginary bow and arrow." Suddenly the the RSC's apologetic response to the brouhaha. arrow actually appears, quivering, in the back "There was one press release that said 'suitable for wall of the set, and dozens of flowers bloom up older children,' and I was fuming, because from from a previously bare stage. "It's like the transfor­ ten years up, no problem, as far as I'm concerned. mative power of the imagination, which is one It's a lovely show for those kids, which is exactly key into the woods. One of the main turning the age of my kids ... and what they talk about in points going into the woods is the creative imagi­ the playground is worse than anything you'll see or nation of the mechanicals; the play is a huge hear on that stage! I don't really think it's worthy of hymn of praise to the mechanicals- they are the comment, except that of course the Dream is a engineers of the imagination. It's about the power play about coupling. But yes, it was lucky that the of dreaming-and a lot of us also have the power play's been otherwise well received." to dream when we're awake, and this is what the mechanicals have. "Well received" is putting it mildly. The consen­ sus among the London critical fraternity is that, "It was also important to me that we actually see even amongst those who saw Peter Brook's now two of the most uptight of the courtiers transformed legendary 1970 production of the play, Boyd 's into fairies literally in front of our eyes," continues comes in as a more than respectable second. Boyd . These are Sirine Saba's Peaseblossom and Boyd- who admits that he loathes "the implica­ Aidan McArdle's almost malevolent Puck, and their tion [you sometimes get with the RSC] that the metamorphosis occurs as they gradually rip each audience should be so lucky to be in such a tem- other's court clothes off and are about to go to it Peaseblossom and Puck Photo by Donald Copper with a vengeance when they are interruptus'd by the arrival of Oberon and Titania. This is not a gra­ tuitous erotic import. "If you read the play," says Boyd , "there's a hell of a lot of naughties in there!" It's not simply a matter of sensual goings-on; the company also takes a firm grasp of every opportu­ nity for Shakespearean bawdiness. Boyd is similarly matter-of-fact about such gags: "I think the Renaissance audience would have gotten those jokes; we don't get half of them. When we discovered some of them in rehearsal , we thought, 'Well, look, we can't avoid this.' I had designed the wall costume for Snout [which gives easy access to the tinker's nether regions] already, and I was alert to the reference in 'I kiss the wall's hole, not your lips at all,' but the moment we started rehearsing it, 'My cherry lips have often kissed thy stones' became such a clear reference to testicles that we just cou ldn't avoid it- I mean, 'with lime and hair knit up in thee' ... it was so obvious! Even the word 'chink' is English Renais­ sance slang for vagina. It's just there!" This led to a brief episode during the production's original run at Stratford-upon-Avon when it 12 pie of hallowed tradition, and that any artists dar­ comforts it. Essentially this is Egeus's dream, trying ing to put their mark on the great Bard's work to reconcile himself to what his daughter is doing. would do so greatly at their peril"--{;onfesses So there is the sense that it's everybody's dream­ nevertheless that "Brook is the one RSC figure the only people that actually are there are the that I don't mind hanging around in the ether, lovers and the mechanicals." partly because he's done very well at keeping himself alive and reinventing himself, and ever Musing upon the atmosphere of directness and since he did his Dream, anyone with any sense openness he has created between the characters has been terrified of doing it. I was fortunate on the stage and the audience, Boyd surprisingly enough not to see it; I've seen about five minutes declares that he misses directing pantomime. of it on a late-night arts program, which was "Having grown up as a theater artist in Scotland , deeply unflattering, so that was great for me." where the main theater tradition-the only really respectable , strong theater tradition that goes Boyd's production is at once pared-down in terms back any distance-is variety, I have a great deal of design and exuberant in its presentation. "I love of fondness for that. A coy or manipulative rela­ conscious theatricality, properly used- I'm a sort of tionship can be a bit sickening, but when it's blowsy, lapsed Brechtian without the Puritanism. good, there is an honesty and an intimacy about The whole of the court becomes the population of it that I do think Shakespeare understood, and the forest, and their costumes are all muted , mor­ generally the Renaissance stage understood it phed versions of the cou rt costumes. Theseus much better than we do." becomes Oberon , Hippolyta becomes Titania, but it goes further: even Egeus has an alter ego in the Ian Shuttleworth is a drama critic for the woods.
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