Driving Deeper Into That Thing

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 150 Critical Acts Critical also an experimental vocalist, a singer-songwriter,a vocalist, experimental an also and is She music. vocal experimental 20th-century on dissertation a on working is she where Arts/NYU, Tischat Studies the Performance of of School department the in candidate doctoral a is Bell Gelsey Bell Gelsey Goebbels’sHeiner of Humanity The Thing That into Deeper Driving Atlanticfrom Germany. Thepiece is named for poserand director Heiner Goebbels to cross the com- of work theatre music Things),latest the roof.shed balloon vast its off bounced metallictones and wobbly mid-register melodies inalmost complete darkness tired.Once at the top of the stairs, I was cloaked pacewas slow and felt preparatory rather than thatlay the heavy tone upon the afternoon. The me,of front in members audience the of those thecavernous space, it was my footsteps, and andominous reverberations bouncing through crafton a Hollywood set. Despite the distant space- alien an into ramp the theatre,like much metalstairs leading up the back of a makeshift Armoryin New YorkCity, all I could see were Enteringthe expansive hall in the Park Avenue I could listen to the aural architecture aural the to listen could I hall,the of enormity the obscured that darkness myeyes were taking their time adjusting to the dimlylit stage, only 165 seats in all. Though topof the small set of bleacher seats facing the from.in Turningcorner,a the at myself found I walked just had I streets city the on snow white tothe bright afternoon sun hitting the fresh 3. 2. 1. text. I’m trying to find a way to write one.” Samuel Beckett to Deirdre Bair, 19 June 1973 (in Bair 1978:513). Bair, Bair Deirdre (in to 1973 Beckett June Samuel 19 one.” write to way a find to trying I’m text. the only actors, no are there which in one is play possible best The Methods. and Grotowskis these me for “Not 1974). Gump (see 1868 in death his until stories short and novels wrote he while supervisor), and tutor a as Austria in life his of most spent Stifter Bohemia, southern in 1805 in Born (2007:5). listening” by experienced be can that space a of properties sound.” the within contained symbolism and emotions, meaning, the to reaction define Salter Linda-Ruth and Blesser Barry The performance is performance The Stifters DingeStifters(Stifter’s

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astark contrast 1 as low low as as “the detection of sound” and sound” of detection “the as hearing annihilate the performer,the annihilate to text the allowing by actors without theatre a ratherthan fulfilling Samuel Beckett’s dream of ators,is an absence of human performers. But cre- its for inspiration original vation,the and inno- avantgarde Dingeto ’sclaim foundational show”no-man (2009b),a say might actors,a performance without performers forfive pianos with no pianists, a play with no afternoon.Sunday snow-white onan uncharacteristically (for New YorkCity) five days in mid-December 2009, where I saw it Itfinally made its way to the New World for Croatia’sand World2009.in Festival Theatre Prix Grand “Mira the won Trailovic”)it 2008,in (where Serbia in International Festival) Theatre d’Avignonin France and BITEF (Belgrade London,and Paris, as well as the Festival Berlin,as cities such in Europe,runs out with through- traveling been since has DingeStifters at 2007 Théâtre VidyLausanne,in Switzerland, English). anumber of his works have been translated into whois little known outside of Germany (though Stifter,Adalbert author Romantic 19th-century a Stifters Dinge Stifters Describedby Goebbels as a “composition TDR’sEditor.Managing 2 Originally premiered in September Acts denotes “the denotes architecture Aural as “active attention or attention “active as listening (elementary school (elementary schulrat 3 Goebbels and set and set and Goebbels Stifters

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one Critical Acts 151 pianos contraptions that appear to con- (2007), at Park Avenue Armory, Stifters Dinge (2007), at Armory, Park Avenue pianos, pipes, percussion, leafless percussion, pipes, pianos, tain the water that fills Looming the pools. upstage are the most sculptural elements of the landscape: and assorted metal, mechanical gadgetry trees, arranged The in three layers of depth. head grid between the stage and the expanse of Most the of hall. the stage floor is taken up with three rectangular cavities running con- secutively from front to back and parallel to the bleachers; they are filledwith water shortly after the beginning of Flanking the the piece. pools on the right are poised four speakers, like heads on tall Onfigural the stands. left are three glowing - New York City, December 2009. (Photo: City, Stephanie Berger/Lincoln Center) New York Figure 1. Heiner Goebbels’s Figure 1. Heiner Goebbels’s a patient — - sing. really sing. making things like pianos —

The theatrical space is set up as a prosce- The soundscape is dirty and cannot tell how the literally sounds nium without clearly the demarcating arch, the audience from the stage rather than integrat- There is only the ing scaffolding us. and over landscape, the whole landscape, event is both performance and installation. Dirty because mysterious. the tones overflowingare withimpure, illog- and ical replete harmonics, with The music gritty discordances. low, evokes enigma both metaphori- Metaphorically, cally and literally. the dissonant harmonies are structured by a slow beating rhythm, with unanticipated rhythmic that marks accents, time in a continuous machinelike pumping and evokes the cinematic thriller. in my seat for the perfor (Waiting I try to figure out “begin,” mance to what time signature the music is in. One moment it feels like 4/4 and the until next I 5/8, realize that it is simply a broken continuous ticking, into smaller divisions only by my own creative listening.) In addition, I it is clear that were Directionally, being made. most of them are created live on but the stage, it is not easy to identify the individual parts The that set make groans the and sonic whole. hums like a Not waiting necessarily beast. an but unkind a beast, disfigured one monster half in waiting the until shadows, you are more accustomed to its its natural presence, before it rumblings, starts to lighting designer Klaus Grünberg (a frequent collaborator) developed the show by working with tangi- ble materials By choosing to highlight and water. nonhuman activity for a live audi- they created ence, a meditation on objecthood and our relationship to and the materials, - environ things, Composed of ment. an 80-minute performance for a seated audience and then a 20- to 30-minute period in which the audience is encouraged to walk around the stage space for a closer look at its music- Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 152 Critical Acts ence that this is a fantastical a is this that ence run.machine audi- the the make remind They that hands human backstage the highlights of job” attitude our “we’restated doing just non-performance,under of the performance linger,technicians as appearance their water. with them filling not do they Though then and pools empty the over salt spreading men two with begins keting,performance the tenacious show”the “no-man and mar set sonic- the being performance the drums.steam-powered and pianos wild of forests for greenhouse a as exists gilded-era mold,the bacteria,Armory if even as dirt,organic,with more rust,replete somehow today of sterility digital sleek the to that ment.technology Mechanical derange - Frankensteinian in shown instruments thing whole the of aura punk steam decidedly the reinforce pianos The another.or way one in strings,prepared all the across rush to rigged arms mechanical ver keyboards,no exposed,sil- with strings some side,with its all on turned grand baby one of body the and uprights four states: various in are Center) Berger/Lincoln Stephanie (Photo: 2009. Goebbels’sHeiner 2. Figure However,of protagonists clear the despite — proud Victorian-era (2007), at Park AvenuePark Armory,at (2007), YorkDinge New Stifters City, December medita- human producing — — compared — seems a -

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a linear line of logic or plot.or story logic of of lack line This linear a along conclude doing,than of rather capable was creation this what exhibit to or show the receiver,the of of impression overall an give to head the in mix to meant was experience the irrelevant.seems but unclear if only As not is when sequence,came the what recall to wards story.a than dream a like more Tryingafter in Or,say,I should human? how this show”? in “no-man instruments musical scenery,of performance props,theatrical and asked,nonhuman wanted How creators piece’sthe think question, I the which begs technicians’well...The presence as automated been have could jobs their surely For scenery? performing the amidst walk then technicians when relief into brought is feat? what a And such in involved is poetry intellectual What performance? human of void the for excitement our of because here gathered seats.we Have our into ourselves,farther of sinking then and operator,board latecomers,seating usher the light element.the natural of us remind They its in nonhuman the not and thingness on tion , the piece moves forward DingeStiftersmoves , piece the Though there is a progression to the events the to progression a is there Though the is - Critical Acts 153 details that tell — (2007), at Park Avenue Armory, Stifters Dinge (2007), at Armory, Park Avenue The spoken evocations of winter ice then Now we recognized the noise that we had heard earlier in the air; it was not In the it was close to us in now. the air, depths of the forest it resounded near us and came from the twigs and branches as they splintered and fell to the ground. It was all the more dreadful as every- thing else Not stood a motionless. twig, not a pine needle stirred in the whole until glittering after brightness, an ice- fall a branch would come crashing down. listened We Then all was silent again. and stared; know I whether don’t it was amazement or fear of driving deeper into (Stifter that [1867] thing. 2009) melt into which physical drips rain, and flows onstage from above into the pools while one of the most intact uprights lazily performs a the story using objects rather than descriptions of people. It is easy to see in this excerpt how the word placeholder becomes for Stifter’s both “thing” the indescribable and the assemblage of - min ute detail his writings weave trees falling over from the weight of ice that has has that ice of weight the from over falling trees collected on them:

Figure 3. Heiner Goebbels’s Figure 3. Heiner Goebbels’s December 2009. (Photo: City, Stephanie Berger/Lincoln Center) New York Republic that rhythm and melody should conform to words in the composition of and technical 4

Lectures in America say- Lectures in

Stifters Stifters Dinge is not void of the liter Die Mappe meines meines Mappe Die

A smooth intermixing of the natural, the the natural, the of intermixing A smooth song (1997:1037, 2.400a), discussions of music have recognized a nondiscursive content that has the potential to either deface or transcend linguistic meaning. As early as Plato’s assertion in As the early as Plato’s 4. and environmental performing objects to probe those phenomena that line the details of a story, that which is unknown and unknowable.

ary, it uses music (which has always had a con- ary, troversial relation to meaning) is entirely appropriate for a consideration of as the it nonhuman, is humanity that inces- Alan As santly creates meaning and mythology. “the human is but Bourassa the relates, creation of a system of meanings and values that There [...] must in large part be called literary. is no story without no the human human, within Furthermore, (2002:60 out –61). stories” a lecture about Goebbels the quoted piece, Gertrude Stein from ing, “anything that [is] not a ing, story could be a (Goebbels 2009a; play” Stein [1935] 1985:119). Though a screen and manipulated manipulated and a screen through different colors and saturations at a leisurely pace. first the in told story, The a sleigh describes person, a on countryside the in ride the which in day winter’s noises strange hear travelers and eventually realize that they and branches by caused are mechanical, and the mechanical, digital surfaces as the image of a map is projected over which the as pools, they gradually fill with water move our attention from an artifact of human idealization to Subsequently, the graceful physicality of water. pools the as length same the screens multiple rippling of shadows the with dance to descend Soon one of the anthropomorphic water. a of British voice the and spotlighted is speakers from extract an reads actor Stifter’s Great (My Urgrossvaters Portfolio; Grandfather’s edition third the specifically while from Jacob 1867), painting Ruisdael’s van Isaacksz (1660) Swamp is projected on Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 154 Critical Acts to attribute a voice to, Goebbels and his collab- his to,and voice Goebbels a attribute to speaker visible no was there stands.where Even bodies objects,vocalic animate creating also can they archive, the from fireflies like perform izations thin.vocal- and the distant while more yet And technology,recording are that voices sounding early of qualities sonic the by colored are and perspective) my (from languages unknown in songs are they because such as heard are ings Lévi-Strauss.to record- ethnographic The listening are we that subtitles projected in told are we and unmistakable are Burroughs Malcolm both of cadences and timbre member’saudience knowledge,an on the traced.historically Depending therefore and source acousmatic thingness.to regards in are function They cal Malcolm Novawith Expressinterview , television a Strauss, Williamfrom S.reading Burroughs Lévi- Claude with radio French on interview working song working Greek Indians,traditional Columbian a by 1905,singing in antiphonal Guinea New graphic display,nonhuman the from ethno- both emerge that voices human recorded many breathe. to room have dramas intimate most story,a through us lead to Withactors no our why,emerge.dreams those what of out and audience its of dreams the encourages both that space mythology. private own my of creation the in elements cal musi- and natural familiar use) to continue (and used have I hindsight,how discerning in dreaming my at gaze to able 1964:6),am I peace”in ([1958] dream to one allows house Bachelard’sthat Gaston insight Exceeding “the room.other the in piano the on movement slow a site-reads member family a and glass the at away beats rain the as window the out childhood,of staring reminiscences conjures 1735).me,major; scene For F the in J.S.Bach

5. However,are there piece the throughout 2000:35). Connor (see ventriloquism of case the in as voice, a of operations autonomous by formed Vocalicbodies are bodies 5 — of their anthropomorphic speakers and speakers anthropomorphic their of — and yet directly cited in the program the in cited directly yet and grants time for considering how,considering for time grants and (from the (from “Italian”Andante Concerto X.paradoxi- a occupy voices These incantations recorded in Papua in recorded incantations — performs a poetics of poetics a performs DingeStifters — sounds cut off from their original their from off cut sounds and personality-driven and sonically X and X — an dynamic.explains: Connor Steven As power/knowledge a in them entwine better consequently and them understand to way a as them to voice ascribe perceptible,then and immediately is force outside no if themselves Weobjects sounding the to life-force ascribe voices.as soundings their hearing by objects anthropomorphize to propensity our as well as –6),1999:5 [1982] (Chion sounds other all over voice human the prioritize to listening our for vococentrism,tendency innate the our reveal technology, in bodied firmly and disembodied both as existence paradoxical voices,their and sounding.its facilitates that recorded life The the and object between relationship this cisely pre- is one) art visual a than (rather objecthood on meditation theatre music a about thing ing doing,life.air),implies like and reveal- The its of waves the transmit to medium priate appro- an (and force and movement requires doing,form,sounding.a verb a as its It in onstage.speaker spotlighted audience’sthe a seats,of than side rather right Malcolm from.instance,emanate For to voice the for space) the of perception our thus (and scape sound- the in location distinct a chose orators sion would degrade into mere symbolism or symbolism mere into degrade would sion expres- its where line that avoid to manages master”2008),cannot (Goebbels man and that forces the with unknown: the with frontation However, (2000:25) voice.that of powers the limit to begun have to also is thunder the in voice the hear to but terror; and awe experience to name.a Tois voice a as thunder the hear conferring of form considerable very the control,exercising in begin to possible it makes also ascribed so is it that fact very the but control; and understanding of powers human transcends voice the God,to god,simply a or to ascribed is it formation.that compromise In of kind der,whirlwind,eruption,a the the is or thun- the in heard is that voice The understood best vision,is Unlike sound X’s voice seemed to come from the from come to X’sseemed voice strives to stage con - to “a strives DingeStifters Critical Acts 155 - - Equal temperament 7 , most of , Stifters Dinge cussion: something dragged along tile on the left side two of long the pipes pool, on the right a single a side, amplified sheet string, of metal, the pianos (the materiality from However, etc. which Goebbels began) are much more com- the modern piano and its Historically, plicated. consumer success are products of the industrial “Pianoforte”). revolution (see Ripin s.v. et al. Beginning in the through Classical period, the Romantic and early until Modern the era, the recent ubiquity of the personal computer, piano has been the dominant instrument in And as with all technologies, music. Western the unique attributes of the piano have influ- society as much as we have Western enced Oneinfluenced of it. these influences has been the development and subsequent pervasive- ness of equal which temperament was tuning, designed for the piano and has since greatly influenced how music is written and how other instruments are played. instrumentality instrumentality are elegantly clear with musi- because cal they instruments, are created by humans to In be used. the scenic instruments are single tones or per ament for so the that piano, music could be played in any key It without compro- retuning. mises the natural acoustics of physics for con- venience and has ultimately altered what we and the “correct” way “sup- hear music as is The prepared pianos to of be posed” played. in intentionally a out- Stifters Dinge are, sense, their as sound of-tune such, displays and, a certain rebellion against the sound of human control that equal temperament epitomizes to our accustomed musical sense. tuning was designed as a pragmatic - philosoph ical ideal to create a single uniform temper

— — objects — citation pianos the activity Guardian Guardian — The Order of Things, of course). This racial context 6

an idea, a melody, a historical a an melody, idea,

— The finale of the performance (which most Throughout the performance there is a - mix The objectification of a human into a“thing” is also noted in a Stifter excerpt published in the program but not included in the live performance. The quote refers to a shy young girl, “the dark girl from Nutmountain,” who runs away from the others at in which the point story, a farmhand declares, “I’ll catch that thing” ([1867] 2009). The program contains a wealth of textual material to leave one pondering before or after the performance. In addition to Goebbels and program citations notes, “Ice of the Story,” the entire sound excerpt recordings, from Stifter’s projections, and the Bach, there are two pages of quotes not integrated into the live performance. Three extracts from works by Stifter are interpenetrated by words from Jean-Paul Satre, Heinrich Mettler (who studied Stifter’s work), and Michel Foucault (from Equal temperament is a system of tuning where every musical interval has an identical frequency ratio. It is opposed to just intonation, where the frequency of notes is based on the ratio of whole numbers. Just intonation allows for a different character in each key and a purity of harmonics, whereas equal temperament affords uniformity to each musical interval. music “Western now exists under the dictatorship of this one homogenized temperament” (Jorgensen 1991:4). 6. 7. that a person could control and that become both horrific and uncanny when they appear to take control like of the themselves, hints not only at the mutability of definitions of and but the their the object, dialectic, human, ultimately exposes these definitions as creating just fuels the power which, same, a false binary, dynamics. certainly inspired the title of the [Connolly 2008]) Attack” “When Pianos review erupts with the three layers trees, of pianos, and assorted industrial percussion rushing on tracks over the pools toward nois- the audience, As ily producing their menacing soundtrack. the rhythm changes and the collective - heart beat of the the room pianos slows, move slowly revealing upstage a again, bubbling bog in what I become fascinated before was clear water. with the behavior of the bubbles: how they and slide toward each other, sometimes grow, then pop when they finally touch. ing of things that exist as instruments and as environmental processes of objects moved by outside forces that in turn like aesthetically display materiality, the object’s the chemical change sparked when dry ice is As the things stakes go, of dropped into water. even metonymy. The recordings often appear even metonymy. in the topography of the performance like the as rain an does, object or environmental pro- cess that is put into material and poetic play, that is put into material and poetic play, rather than as a stand-in for human presence. this investigation of liveness and However, thingness is also seen to play upon the mobile racial line that objectifies the human in the Malcolm X sound bite.

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if you get surprised by the con- the by surprised get you if — because then it means it’smeans it then because Critical Acts 157 The The Grove Grove New York York New . Trans. Trans. Listening. Lectures in America. Lectures in Tuning: Containing the Tuning: , ed. John ed. , Works Complete . New York: York: New Adalbert Stifter. Dumbstuck: A Cultural History A Cultural Dumbstuck: 26, 3 (78):1 26, –16. PAJ . www.oxford www.oxford Oxford Music Online. www.wnyc 16 December. WNYC, Republic.” Trans. G.M.A. Grube G.M.A. Trans. “Republic.” . www.artangel.org.uk// . Artangel , 27 March. www.guardian.co.uk/ 27 March. , Guardian stage/2008/mar/27/theatre2 (17 January 2010). Oxford: Oxford . University Press. Ventriloquism of Dinge.” projects/2008/stifter_s_dinge/heiner_goebbels_ on_stifter_s_dinge/heiner_goebbels_on_stifter_s_ dinge (17 January 2010). . Heiner Goebbels/Videos School. European Graduate www.egs.edu/faculty/heiner-goebbels/videos/ (7 February heiner-goebbels/ 2010). Lincoln Center. York: New Performance program. Composition.” Inc. Publishers, Twayne the Temperament, of Eighteen-Century Perfection and Temperament, Art of Nineteenth-Century Lost East Lansing: . Temperament the Science of Equal Michigan State University Press. Fordham York: New Charlotte Mandell. University Press. In Reeve. and C.D.C. Indianapolis: 971 Hackett –1223. Cooper, M. Publishing Company. Accord Talks.” in Grudging Climate www.nytimes.com/2009/ 19 December. , Times 12/20/science/earth/20accord.html (7 February 2010). Music Online, musiconline.com/subscriber/article/grove/ music/21631 (8 February 2010). Goebbels.” .org/shows/soundcheck/episodes/2009/12/16/ segments/146325?utm_source=feedburner&utm_ medium=feed&utm_campaign=Feed%3A+wnyc_ home+%28WNYC+New+York+Public+Radio %29 (22 January 2010). Boston: Beacon Press. Gump, Margaret. 1974. 1974. Margaret. Gump, Connor, Steven. 2000. 2000. Steven. Connor, “Why I Made Stifter’s 2008. Heiner. Goebbels, “Heiner Goebbels.” 2009a. Heiner. Goebbels, “Program Notes.” 2009b. Heiner. Goebbels, “Performance as 2004. Stathis. Gourgouris, 1991. Owen H. Jorgensen, [2002] 2007. Jean-Luc. Nancy, 1997. Plato. “A 2009. and Broder. Andrew John C., M. Revkin, In “Pianoforte.” s.v. et Edward al. M. Ripin, “Soundcheck: Heiner 2009. John. Schaefer, [1935] 1985. Gertrude. Stein, Connolly, Kate. 2008. “When Pianos Attack.” Attack.” “When Pianos 2008. Kate. Connolly, Spaces The Poetics of Space. The Poetics namely the audi The Voice in Cinema. Voice The — A Shock to Thought: Expression A to Shock . New . A Biography Samuel Beckett: in what way one makes sense or 9

me. me.

Speak, Are You Listening? Experiencing Aural Aural Listening? Experiencing You Are Speak, Cambridge: MIT . Press. Architecture In Non-Human.” 60 Brian After Massumi, Deleuze ed. and Guattari, London: Routledge. –76. Columbia York: New Claudia Gorbman. Trans. University Press. Trans. Maria Jolas. Boston: Maria Beacon Jolas. Press. Trans. Summit Books. York: “To be listening is always to be “To on the edge of meaning, or in an edgy and meaning as of if extremity, the sound were precisely nothing else than this edge, this fringe, this margin” (Nancy [2002] 2007:7). 9. allows non-sense, depends allows entirely non-sense, on one- and it self, is in this interior play that the drama As to Goebbels admitted, unfolds (or doesn’t). a certain extent contradicting his own market- ing and exposing either ambivalence or ruse: “When people say there are no humans in peo It’s mistaken. they’re the performance, ple that are at its centre who are ence, empowered (in by Connolly it” Following I the joined 2008). performance, the rest of the audience in roaming around the mechanically sounding set and inspected its a great sense of sat- design with avid curiosity, isfaction washing over me when I got a closer look at the piano strings and understood what until it I wasn’t left had However, been done. the thing that I could feel how the piece pro- Crunching pelled through me. the snow with echoes of metallic songs accompanying me like I ghost departed Armory images, from the and headed into Central Park for an old- fashion At snowball fight with some friends. there that was moment, no thing that felt more appropriate or desirable than getting my hands deep into the materiality of what had recently reinvigorated the land (and sound)scape around

Bourassa, Alan. 2002. “Literature, Language, and the Language, “Literature, 2002. Alan. Bourassa, [1982] 1999. Michel. Chion, Bair, Deirdre. 1978. 1978. Deirdre. Bair, 2007. and Linda-Ruth Salter. Barry, Blesser, References [1958] 1964. Gaston. Bachelard, those questions were, those remains questions unknown were, and depends entirely on the journey of each indi- It is in this way vidual that audience member. the substantial human element of the piece is What one hears and how the human observer. one listens, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 158 Critical Acts Vidal,John, Stratton,Suzanne Allegra and Stifter, Adalbert.2009.[1867] from “Excerpt Memorabilia: Hidden Archives of Performance . of Archives Hidden Memorabilia: collection the editing currently is Glen (2008). Performance About in recently published has and dramaturg, and director a as Westernof extensively Sydney.University worked Arts, has Communication He of School the University,Sydney in Studies, and Performance of Department the in lectures McGillivray Glen and Andrews Tom Wright. from plays Shakespeare’sof history retelling abridged an of tion produc- (STC) Sydney Company Theatre Benedict of Andrews’simage opening the is air.golden twinkling the except courtiers.moves dressed Nothing drably by surrounded monarch glowing a onstage: thing finger.band brightest the above, is from she Lit wedding- her on glints ring gold a and crown golden a sits head blonde shoes.her slip-on On shirt,white white trousers,and long-sleeved a off-white Blanchett,in Cate costumed is center show’sduration.downstage 90-minute Seated positions,these mostly, the of part best the for they’llin don’tand remain they move stage: the on pairs in and audience,singly the spread ing rain.one,stand,for nine fac- except of cast The golden endless pitter-patterthe whispering of the alive.but if sound as no shimmers is There Sydney stage.voluminous Theatre the air The fills and flies the from flutters fragments golden susurration.quiet a of hear shower I A tain cur rising the of whirr mechanical the Behind McGillivray Glen Company’sof Theatre Production Sydney the in Figure Stage the and Aura, Stardom, King/Cate 1. This tableau, seen through a cloud of gold,of cloud a tableau,through This seen country. the in companies theatre major the all with worked Australia’shas of She one actors. is stage Rabe foremost Pamela dropped: Copenhagen ends in failure.”in ends Copenhagen dropped: Goldenberg.2009. targets,“Low goals Center.Lincoln uncredited.program.Performance New York: Grandfather’sGreat Portfolio),(My translator Dinge.”From ( January 2009), January The War( Roses the of RichardII Die Mappe meines Urgossvatersmeines Mappe Die to adapted by Richardadapted III, The WarRoses the of The Stifters - silently onstage, until she appears as Richard as appears onstage,she silently until presence,sinister waiting continuing a is Rabe while Rabe’sLady III) to (as Richard Anne only more once ensemble,appears the Blanchett Technology New YorkInstituteUniversityMassachusetts of the and Drama (T207) ©2010 The 54:3 2010. TDR: Review Fall aside “bishops,whores, taverners, Gallasch,Keith result,sweeps reviewer writes acts.four into structured hours The eight to it reducing time stage of hours 30 nearly took production,STC the For and Andrews Wright 1987.in production Company Shakespeare Pennington’sMichael English and Bogdanov Michael and 1964 in production Company Hall’sShakespeare Peter Royal include sions plays.ver eight Previous of assortment ad the underpins that narrative mythical semi- as history of arc great the reveal to as so sequence chronological in plays the stages III. Richard as impressive,Rabe equally Pamela but known,internationally less the and II Richard as Blanchett women: by played monarchs both with Richards two the by bookended are acts people”2009).its (Gallasch and dom four The king- a of death the into chronicle “descent of criminals,Joan petty to Arc”and order in cenaries,and ambassadors,rebels popular (7 environment/2009/dec/18/copenhagen-deal Guardian,December.18 www.guardian.co.uk/ 1 Whereas all the other roles are played by played are roles other the all Whereas February 2010).February (2008) and (2008) Research Performance Richard II Richard

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Critical Acts 159 War of War the Roses, Part One, by William Blanchett’s star power Blanchett’s operates indepen- dently from her role as Richard; her celebrity a major draw for the produc- indisputably, is, Audiences desire physical proximity to tion. a star; a desire “gilt (call by it association”) that is milked shamelessly by producers to increase At itstheir mostbox instrumen- office receipts. a tal show level, can simply be a vehicle for its star to do “turn”; a its star main purpose being to place the body of the star before his or her in a Here, way that Walter fans. goes beyond envisioning the “in in actor Benjamin’s 1936, is the far service from of and, emancipat- a ritual” ing on her “parasitical rit- from dependence” a her star ual, status recasts this old relationship anew (Benjamin [1955] 1992:217 –18). is both a social being and a fictional character; character; a fictional and being a social both is but case in stardom Blanchett’s intensifies this Onstage the juxtaposition. star shines and the Richard king is “Cate-ness,” glows. imbued with but it is for the king not we Blanchett. weep, after — but how the pro- —

2 particularly when a star is involved; involved; is a star when particularly

—

Spectatorship in the theatre is a complex a is complex theatre the in Spectatorship Premiered at the National Theatre, UK, 2 June 1995. 2. duction explicitly utilized her celebrity status in the role. business so how does one separate the star from her aura aura her from star the separate one does how so hand one the On role? her from actor the and celebrity) and star (film Blanchett Cate is there (Shakespeare’s Richard King other the on and embodies Blanchett when Yet, character). words something Shakespeare’s else appears Stage the called Structuralists Prague the that it production this in 2008): Ambros (see Figure is Figure Stage this While Blanchett/Richard. is not Blanchett nonetheless it and remains, also, and every Blanchett, actor onstage, not not her.

Shakespeare, adapted by Tom Wright and Benedict Shakespeare, Andrews, adapted directed by by Tom Benedict Andrews. Sydney Kelley) Theatre, 2009. (Photo by Tania Fiona Shaw all, had played Richard in Deborah 1995 production Warner’s “Crookback.” For a work of it such ambition, “Crookback.” may seem perverse to only focus on one aspect of it but I was intrigued cast- by Blanchett’s ing as It Richard was II. not so much the cross- gender casting that piqued my interest Figure 1. An endless golden rain falls on the golden crown. Left to right: Steve Le Marquand, Cate Blanchett, Pamela Rabe in the Sydney Theatre Company’s Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 160 Critical Acts its ritual function”1992:217).ritual ([1955] its aura The from separated entirely never is aura its to ence refer with art of work the of existence the that is it Benjamin’s“significant that observation surfaces.is,ing It recall therefore, to salutary proliferat- endlessly of maze mirror a in lost and spectacle the by seduced become can it. of photos lion power iconic Blanchett’spossesses,Richard’sface like did, face”her (2009).of beauty pale the for “known Blanchett,that too,comments McKeough is The Warfor Roses the of Paris”1997:451,as (Saul some 452). Reviewing was hand- he “as said Maidstone Richard kings”of and beautiful as most him “the described Gower John beauty: his on mented raries contempo- features”his feminine and “slightly Saul,had Nigel Richard biographer his to off. this pull to first According the of one was celebrity,contemporary as tured Richard and manufac- as just was kings of charisma older much the presence: kingly archaic with rity celeb- contemporary of aura the concatenates most.Blanchett/Richard of Figure Stage The the hear they that voice her is it and them before always fans,is the she for it; embraced Blanchett’spower,for star sate has Andrews air.agitated the in point focus a highlighted,provides and she white in her.on are eyes all ensures stage Dressed arch proscenium and mise-en-scène the of logic tial Bolingbroke) against dog a like leg her lifts she scene abdication the (during slouching,and ness fidgeting, pouting, mugging stage ter cen- crown.dominates the Blanchett desires who Menzies),man (Robert the Bolingbroke of voice antagonistic the kingship,by interrupted on monologue extended an almost becomes excised,play completely the nearly roles ing throne.his cated support- of cast Withlarge its abdi- has he after stage the of wall back the against center upstage far position a in nating Richard’sfrom grasp,slips power culmi- as center,stage upstage,move gradual a for except down- production the of most for remains but stage center vacates never Richard as Blanchett Celebrity studies, like the celebrity itself,celebrity studies,the Celebrity like compen- to trying or resisting than Rather In — The WarPartRoses the of One, One,Act friends and enemies alike enemies and friends — where she alternates between still- between alternates she where — on Google there are over a mil- a over are there Google on The Economist, The Tim — — and the spa- the and all com- all - by Taniaby Kelley) (Photo 2009. Theatre, Sydney Andrews. Benedict Tomby directed Andrews, Benedict and Wright by adapted Shakespeare, William by One, Part Company’sTheatre Sydney the in Menzies) (Robert Bolingbroke against dog a like leg her lifts II Richard as Blanchett Cate 2. Figure acquired auras through ritual and ceremony.and ritual through auras acquired on depends aura rituals; their through this reinforced performatively and beings sacred as venerated were monarchs pose”semi-divine (1997:449).in self Medieval him- of Saul,images for fondness a “developed and, to office according his of aspects hieratic the cultivated self-consciously Richard that ment”1984:8).surprising,([1973] not is It then, enlighten- of age the preceded that Europe the in apart set race a as regarded and erated sacred mystical the turges, of concept the to essential were that myths eternal the focused on “continually Renaissance, the in magnificence of heights new reached Middle and the Ages in began that cities,to monarchs of entrances ceremonial the that writes apart.Strong race Roy sacred a be to believed were kings Europe enlightenment pre- in way: same the worked once kings of ritual and monarchs and ritual rulers who were ven- were who rulers War of the Roses, the Warof les rois thauma- rois les Critical Acts 161 présence, which face. (IV.i) (IV.i) face. Is this the face which faced so many follies That was at last outfaced by Bolingbroke? A brittle glory shineth in this face As brittle as the glory is the face. How soon my sorrow hath destroyed my The monarch is a star whose light might ity), the intelligent ity), choice is to How exploit it. dramaturgy dis- does Wright’s this happen? tills the play into an oratorio for Richard and staging places Andrews’s her but center stage, the nuances casting of emerge Blanchett’s at The first as oftwo these, notable moments. Shakespeare occurs wrote when it, Richard summons a mirror while the details of his abdi- whose cation are Blanchett, being negotiated. face is as renowned in its beauty as that of the slouched non- stands historical center, Richard, chalantly on her hand left on leg, left hip as she gazes into a hand mirror held in her right hand. On “No the deeper her line wrinkles yet?” left hand drops to her side and her arrogantly relaxed posture changes as she looks search- ingly at herher leftreflection, hand at times exploring Richard her asks: face. voice drops Blanchett’s into its lower register as she bitterly remarks: Richard dashes the mirror to the floor and it explodes into glass shards: this is the largest and most explosive gesture in the production. Richard looks at at the the ground, shattered image of her face and laments: burn brightly but whose ascendance is always When she Richard lifts abdicates, provisional. the crown from her head and a shower of gold This scene is a dramatic climax in the play, This scene is a dramatic climax in the play, and when Blanchett embodies these lines and we cannot actions, help but understand them as an extra-diegetic meditation on contempo- In this moment the Stage Figure rary celebrity. produces the of sense “brittle that glory” the own the celebrity actor’s is just as fragile as the a sense king’s; that is reinforced when the king, stumbles across the broken glass shortly after, as she returns downstage. 3 Cineaste; to show, exhibit, exhibit, to show, —

“is also intriguingly remi- and Goodall suggests that “presence” and Goodall “presence” suggests that

—

Since it’s virtually impossible, then, to then, virtually Since impossible, it’s A similar, but secular, sense of presence is but secular, A similar, also shares “presence” an etymology But Although European monarchs no longer Amidst its various permutations, the OED intriguingly suggests a mid-16th-century French usage, refers to a collection of people, audience. Also, one does not have a meeting with a monarch, but has an audience. Stage Presence (2008), Stage suggests that the 3. Blanchett, he writes, Blanchett, niscent of old-time movie stars [...] who wowed audiences with an impressive blend of charisma (2007). and craftsmanship” deny the stage presence of a star (although through technique she can dim her luminos- implies and requires the metaphysical together “practical with work the of performance and Both these (2008:20). performance training” are attributed magic and qualities, mastery, to Blanchett by Richard Porton in his intro- duction to an interview with her for now attributable to the star actor. Jane Goodall, Jane Goodall, now attributable to the star actor. in presence combines actor’s qualities of both the dignitary and the magus; it that com- is, bines the awe we reserve for the truly sacred with our Stage- wonder at tricks. the magician’s struck admirers in the 18th-century had just this relationship to certain actors as illustrated description of Hazlitt’s the William actress by “She Sarah was Siddons: regarded less with as if a being admiration of than with wonder, a superior order had dropped from another to awe sphere, the world with the majesty of (in her Goodall appearance” 2008:30). with “to the present” verb display have this sense of sacred mystery, and we no have this sense of sacred mystery, longer a venerate star them, performer pos- sesses an ineffable mystery of her own: stage Stage presence presence. is the inexplicable either got “you’ve it as or in you “it” don’t” “pres- (see From Roach the 2007). beginning, has had ence” numinous connotations; its etymology in the OED can be traced to the Latin that referred to a praesentia powerful or helpful presence: in the fourth and this fifth centuries, referred to the bodily presence of Christ in the The term was not applied Eucharist. to human beings until the 12th century and then it was applied to royalty who were imbued with this sacred aura: an emperor or king had a presence or one into before entered. which, which,

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 162 Critical Acts ting gestures these Castle,Pomfret in imprisonment his by society from sundered be to Richard for calls play the mouth.as her Just around sors, cuts carefully actor,the that hole small the scis- for using except masked completely head.is her She hood lycra black tight a fits and left stage from enters subtlety.actor an onstage; alone is Blanchett moment,remarkable notable with second a in so,does star,and her efface literally to has it its disavow to has production the aura kingly face? famous Tothat with do to What deny removed? be she audience,can the how before 1996:76). Montrose (in fallen has star a when even cease monarch/star’snot the does lot,is it tiny and scru- unrelenting observed”: dulie world the all celebrity,16th-century of view and sight the “in Elizabeth stage.the of “Westages,”on set are princes void vast and hard the for exchanged are court of light and opulence the changes: en-scène tint.cooler a mise- to whole changing The are lights the and ceasing is rain golden the that I’maware and suddenly silence plete com- in done is This being or “herself”? king ter cen- upstage to left arc an in walks Blanchett hair blonde it. her from Flicking tumbles flakes Sydney Theatre, 2009. (Photo by Taniaby (Photo 2009. Theatre, Sydney Kelley) Andrews. Benedict by directed Andrews, Benedict Tomby adapted Shakespeare, William and Wright Company’s Theatre Sydney the in Blanchett Cate and Carroll over,Peter world vanished. the the of one prisoners like becomes, she world the in faces famous most the of one being From 3. Figure — Having placed Blanchett so emphatically so Blanchett placed Having — — it’s ambiguous: is she now playing the playing now she it’sis ambiguous: are acts of understated violence that violence understated of acts are reminiscent of a bondage mask bondage a of reminiscent I once said, herself the epitome of epitome said,the once herself I by One, Part Roses, the Warof — the masking and the cut- the and masking the — over desired object.desired our and audience the between bond the sunder stage, casts sightlessly about her and speaks: and her about stage,sightlessly casts the figure, on black-headed kneeling This recognizably voice.Blanchett”her “Cate is is that thing us,only before the still is body over,vanished.the of actor’s one the Although world the becomes,prisoners she like world the in faces famous most the of one being From Other.anonymous Blanchett”an “Cate but Muppet. a like looks Blanchett open mouth king.beautiful the inch every Withonstage her is and beauties screen great of pantheon the use.to afraid joins she closed Withmouth her clown alley gaping the sideshow “O”to a pout of sual sen- a from morph can lip upper long its with grotesquerie.mouth into Her beauty her form actor,the trans- to can instant an in which gift quirk,genetic physiognomic a a is mouth pout.goldfish Blanchett’sgrotesque a into hood the by distorted now mouth,is her which for except effaced are masking.features Her this by alarming faintly and strange us,made is expressed through the Stage Figure. Stage the through expressed aura kingly and presence star between ship relation- the of because only works that action is,simply,It quite understated breathtakingly a a by stage.“gimp”replaced a and on snatched body- been has point reference glowing our audience,thoughts.the teeming For her only truly, suggests, soliloquy comprise final her as actor,sightless the For now,must world her is of the remorseful Bolingbroke, on his knees,Bolingbroke,his remorseful on the of is guitar,electric dant out.blares image final The refrain “I’mking,”the discor by accompanied descends, looped relentlessly the curtain fire greater.be predecessor’snot his could of the As opulence glittering the Bolingbroke’sand court Sydney between stage,contrast Theatre the the of void hard-edged cold the in knees; falls,Richard’sand anguished,death his to of told assassin.is single Bolingbroke a with embrace intimate an assailants,in multiple but against battle desperate a in writes Shakespeare Blanchett’s face, both familiar and aloof to Blanchett’saloof and face,familiar both Thisprisonlivewhereuntoworld theI(V.v) compare may I how studying been have I longer no is us before figure hooded The Richard is finally murdered, as finally not is Richard — a capacity that the actor is not is actor the that capacity a - Critical Acts 163

- Cineaste, meeting billed , eds. eds. , Works The Complete Art and Power: Renaissance Art and Power: Ann Arbor: University Ann of The Purpose of Playing: It. It. New Haven: Yale II. Yale New Richard Haven: February 2009). Michigan Press. University Press. Oxford: Oxford Taylor. and Gary Wells Stanley University Press. The Suffolk: Woodbridge, 1450 –1650. Festivals Boydell Press. Shakespeare and the Cultural Politics of Elizabethan Politics and the Shakespeare Cultural Theatre. Chicago: University of Chicago Press. Interview with Cate Blanchett.” Cineaste Publishers York: New 22 March. (6 Let Me Down Easy ing which two increasingly aggressive dissenters were forcibly removed by the sheriff only 15 minutes into the meeting (Moore 2009); or August Louis the 2009 6 St. from the media, from especially the as media, dozens of meetings across the country attracted angry crowds that occasionally necessitated police interven- tion to quell threatening and sometimes even Consider violent events dissenters. such as the Memphis meeting held August on 2009 8 dur Saul, Nigel. 1997. 1997. Nigel. Saul, 1992. William. Shakespeare, [1973] 1984. Roy. Strong, ReviewFallTDR: 54:3 2010.The ©2010 (T207) Drama and the of Massachusetts University Institute York New Technology Roach, Joseph. 2007. 2007. Joseph. Roach, Porton, Richard. 2007. “Trusting the Text: An Text: the “Trusting 2007. Richard. Porton, Montrose, Louis. 1996. 1996. Louis. Montrose, The London: The Shadow Puppet Theatre of Malaysia. Her scholarly interests focus In response, citizens In response, 1 Stage Presence. Presence. Stage Real Time 89, http:// Time February –March. Real 168:45–65.

Stage: Laboratory of Theatre and Semiotics.” Stage: Theatre Laboratory and of Semiotics.” Semiotica In Age in of the Mechanical Reproduction.” Harry trans. Arendt, Hannah ed. Illuminations, London: Fontana Hammersmith, 211 –44. Zohn, Press. without.” rt.airstrip.com.au/article/89/9323 (23 September). Routledge. www.economist.com/ 12 February. Economist, (23 displayStory.cfm?story_id=13097656 September). Congress continued to work on production a was health extended care Meanwhile, plan Smith’s for over a year. twice, finally closing in January 2010. I think the extension of her run is she no is coincidence: a certainly, fine performer and the production value of her piece had enough of its own merit to cause the longer run. However, as Congress continued to extend its own deliberations concerning the health care crisis, it became clear that the dialogue initiated by both the play and by our government representatives demonstrates that this is a conversation that will not end with any bill, even now that it has passed, for it is a topic that and is one ever-evolving, that touches each of our lives. 1. attended town hall meetings to debate this The events drew considerable attention crisis. Candace M. Joice works as and an is actor a and PhD a student director, at the University of She holds an Colorado MA at in Boulder. Theatre from the University of Central Missouri and a BS in Education from She Southwest compiled Beth Baptist the University. resource guide for Dr. forthcoming book, Osnes’s on women’s theatre, docudrama, and Christianity on in women’s the arts.

By August of 2009, August the of status By 2009, of the US health care system worked its way to the forefront of A problem decades the in political the arena. major health making, care reform under the banner of what the media and politicians alike have “health was termed care the a crisis” focus of a strong campaign initiated by President Obama and Congress. Candace M. Joice Meeting to Find a to Way References Experimental “Prague’s 2008. Veronika. Ambros, “the the war war within, 2009. Keith. Gallasch, 2008. Jane. Goodall, “Cate and the King.” 2009. Tim. McKeough, with the rest of staggering the toward cast, the audience. Art of Work “The [1955] 1992. Walter. Benjamin, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 164 Critical Acts tribute to the health care debates,care health the to tribute con- to developed originally not was duction heard.be never otherwise Smith’sThough pro- might who people of voices the audience her to bring to voice,instead own choosing her omits performance.in She words exact their using interviews,personal conducted has she whom with individuals as performs Smith change: social for theatre of works groundbreaking other her as format same the in constructed is the CharacterAmerican .show one-woman This Smith’sin series,ment making, the in years “docudrama”several production 2009.October in Broadway on A opened Easy Smith’splay Deavere new Anna repercussions. reaching far-and personal such with issue an on tives perspec- own their express to citizens average for outlet public a provided meetings hall town crisis,care the health the to solution proper the debated leaders government and politicians As climax.a to solutions inadequate and problems of decades the citizens,brought American has of reactions passionate similarly the with issue,the along to themselves dedicated have Congress 111th the and President the which with tenacity nation,the this but to new not are policies insurance health and care health of practice and management the regarding anger.their display unabashedly to Concerns citizens inspire not did that event an of dence evi- find to rare propaganda,is caustic it and actions threatening with met were meetings 2009). Schmickle 2009; (Bazemore with Hitler hands Adolph shook he which in try,images into photoshopped was Obama coun- the swastika,across a while with ized vandal- Scott’s was David office Congressman 2009).Georgia (Shapiro of outside sign The inappropriate or hostile as admit to refused later he Obama,action President an turing fea- meeting hall town a of outside crowd the joined he as leg his to strapped gun a wore Portsmouth,Hampshire,protester New one (FOXNews2009).11 2009,On August in debate care health fervent a into event the turned issue the of sides both on activists after assault as severe as charges for arrested were an as “aging”people six meeting,which in It is within this climate of ardent debate that debate ardent of climate this within is It nation’shall the town of all not While is the latest install- latest the is Easy Down Me Let On the Road: the On Searchfor A Let Me Down Me Let Let Me Down Me Let a retaliation later that evening by a group of group a by evening that later retaliation a boy,Guyanese young a killed and sparking struck accidentally hearse a driving sect) Jewish Hasidic orthodox an of member (a Lubavitcher In 1991,events: August charged a racially of series a Heights.by sparked was violence The Crown in violence civil and fires of days three Mirror the respectively.on working began Smith New in Yorksparked Los and Angeles,City riots race to attention national bring to effort the to contribute to written were (1993) 1992 Mirror the in theatre.of brand particular her of lution evo- the in forward step important an also is it work,Smith’ssolo as but previous devices tic audience. ing active,an listen- also but voice a given only not celebrity,or politician the just than rather is citizen,average the which in meetings hall town as such events for need the affirms Easy by Joan Marcus) Joan by (Photo 2009. Theatre, Stage Second Easy, Down choreographer,Company Dance Streb in Streb, Elizabeth as Smith Deavere Anna 1. Figure features the same artis- same the features Easy Down Me Let in October of 1992 in response to response in 1992 of October in (1992) and (1992) Twilight:Los Angeles, Firesin Let Me Let Fires Critical Acts 165 Let Me Down Easy is a charac- One of the questions I was frequently asked when I was interviewed about “Did you was find any one voice Twilight that could speak for the I entire city?” think there is an expectation that in this and in this diverse nation, diverse city, a unifying voice would bring increased understanding and put us on the road This expectation surprises to solutions. There is little in culture me. or education that encourages the development of a In unifying order voice. to have real all voices would first have to be unity, heard or at Many least of represented. us who work in race relations do so from This the point of view of our ethnicity. very fact inhibits our ability to hear more voices than those that are closest to us in Few people speak a language proximity. about race that is not If their more own. of us could actually speak from another like speaking another lan- point of view, we could guage, accelerate the flow of (1994:xxiv–xxv) ideas. It is no surprise that this same discourse , David American Society, and Discourse, Politics, By voicing the perspectives of the rich and the Republican and the Democrat, the poor, the Caucasian and the atheist and the believer, and a American, host of African charac- the ters whose backgrounds defy these binaries, Smith creates an unbiased theatrical environment in which the audience can consider the varied range of perspectives regarding illness, and the dying, utility of health care as a means to postpone death. and regarding health quality illness, of life, care induced such a high degree of participation in town hall meetings across the country. In Michael discusses Ryfe the origin and influence of the town especially hall as meeting, con- nected with presidential campaigns and terms Ryfeof cites office the 17th-century (2001). and family but of also patients, academicians, and ath- journalists, religious leaders, authors, The sweeping range of demographics letes. represented in teristic shared with her previous docudramas, and is arguably the strongest element of her In her work. preface to the published edition of Smith wrote: , Twilight - Let Me officers Let Me Down Easy does agers, one of agers, whom allegedly stabbed

Twilight: Los Angeles, 1992 to address Angeles, Los Twilight:

Though her primary focus is on individ- Unlike these works, Unlike these works, large. black teen and killed a Hasidic scholar. Similarly, Smith Similarly, and killed a Hasidic scholar. initiated not have isolateda eventspecific, as the start- ing point for its Rather primary narrative. than addressing one particular incident and its Smith tackled repercussions, an ambitiously large project: the human experience of illness, Smith and says death. that “is healing, the play both about the resilience of the human body and the vulnerability (KVUE of 2009); it” and not just it’s politics. not just “It’s policy, that These are lives at stake; how our we’re lives, [it I is And think, about] also, our going to live. (in Lunden Americans” 2009). dignity as uals characters in the Smith’s United States, come from all over making the world, the race riots that exploded Angeles in Los following the acquittal of the police who had brutally beaten an Rodney King, American whom African they had pulled over for speeding and driving In while intoxicated. Smith both moved productions, from a narrow exploration of the specific concerns of both the Crown Heights Angeles and inhabitants Los to a more expansive examination of the social and political implications facing the country at Down Easy her play most in far-reaching terms Despite the broad range of the of geography. backgrounds from which she has selected her play does Smith’s not lack characters, focus or The disparate and varied voices direction. flow through and around her central message: while illness and death inspire a range of reactions, and understanding should be dignity, hope, available to us all when we must inevitably face the presence of illness and death in our lives. Some of such her as characters, supermodel share Lauren personal Hutton, stories about their encounters with illness and health care. share like Yuens, musicologist Others, Susan their perspective regarding the meaning behind to a some, lesser degree, Finally, our mortality. including New Orleans doctor Kiersta Kurtz- who felt Burke, utterly abandoned during the days following share Hurricane their Katrina, opinions regarding policies and health care practices char in the Smith’s United States. and friends acters patients, include physicians, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 166 Critical Acts merely as viable tools for bargain- tools “political viable as merely exist not do meetings out,hall points town country.this of foundation democratic RyfeAs the deny to citizen’sis vidual participation However, indi- the of significance the deny to engaged.civically be to public the for tunities oppor providing of guise the under agenda cal politi- own their affirm can they which from platform a with politicians provide meetings publicly.react to inciting communities by American plan care Obama’son health position their leverage to Congress of members the for opportunity tegic stra- a provide meetings hall town the applied; Congress.of However, be can idea same the members by but Obama President by not held been have 2009 of meetings hall town the of ity actors”political (173).other with major The power bargaining their leverage to public the to speak strategically allowed [to] “presidents have assemblies the ated,that Ryfenotes but fluctu- has meetings hall town of utility civic engagement.then,civic Since of the means hall town hold to community firstthe American as Puritans England New , Second Stage Theatre, 2009. (Photo by Joan Marcus) Joan by (Photo 2009. Theatre, Stage Second Easy, teacher,retired a Coleman, Lorraine in aunt, her performs Smith Deavere Anna 2. Figure In this way,this In hall town that inferred be can it meetings as a as meetings - - dining table with three chairs; and five sil- five and chairs; three with table dining white long a table; coffee corresponding a and pillows with couch white a floor; hardwood oval white white.a ously of consists stage The play,conspicu - and bare strikingly is stage the for created environment the with sharply contrast occasionally,halls,meetings town these actual observation. active and performance of give-and-take mutual a audience,in engaging the as and characters the both as serve pants in democracy.ipation American partici- The partic- active into public the initiating by fear and tension of release cultural a provide They soapboxes.political than more are meetings activity”(174). hall form,town cultural the a As social distinctive a as it mark that participants for behaviors and roles of set a establishes it plots,typical characters,with scenery), and and (complete meaning its provide that narratives produced,generates and it organized socially qualities: is three “it has meeting hall town a Chaney,form,cultural a as that Ryfeexplains forms.cultural David sociologist to Alluding as relevance additional on take ing”they but Held in churches,centers,in recreation Held and Let Me Down Easy.Smith’sDown of Me start Let the At Let Me Down Me Let Critical Acts 167 Fires in Twilight Fires in the Mirror also , however, Let Me Down Easy, however, provided a venue in which the voices of these individuals can but be she heard, also has provided an aesthetic that allows their words and their experiences to become visually affixed in included occasional projected backgrounds and images, Twilight such Figure 3. Anna Deavere Smith as the Reverend Peter Gomes Figure 3. Anna Deavere Smith as the Reverend Church, Harvard University) in Let Me Memorial (Minister, Down Easy, Second Stage Theatre, 2009. (Photo by Joan Marcus) - - 2 - - featured similar staging devices. For both, Twilight the stage was largely bare;

Fires in the Mirror and

This visual tactic underscores the Mirror featured mirror fragments that reflected the audience as the primary element of the set, while included a number of chairs. Smith also used simple props and costume pieces to add to her basic attire of white shirt and dark pants as she embodied each individual. Unlike featured the projection of dynamic images capturing the violence and destruction that occurred during the three days of fires and violence in August1991, and as graffiti-covered walls projected during monologues characters, featuring much inner-city to the chagrin of some critics (see Laris 1993; and et Villarreal al. 1994). Both 2. Smith’s emphasis on human mortality. The emphasis on Smith’s human mortality. characters themselves do not remain; it is only their belongings and the impressions of their words that are Smith left has behind. not only

mance is well under way and Smith has embodied several characters that the purpose of the pallid scen- As she per ery becomes evident. forms in her simple white blouse and tailored a blue stage- slacks, hand emerges from the wings to bring Smith a new costume piece, these - sim With or a both. prop, Smith ple becomes accoutrements, The accessories the new character. provide Smith with further impe- tus to launch from one charac- they ter to similarly, another and, also assist the audience in accept- ing However, the transformations. most striking is the way Smith dis- cards one prop or costume piece leaving per it onstage, for another, haps draped over a chair or lying no char In this way, on the floor. acter is fully left behind or forgot- ten; the presence of each character continues to resonate as the others Each character speak. is continually in attendance for so the that next, their perspectives continue to accu- whether the mulate, current character affirms or contradicts those who have By already the spoken. play’s the colorless end, stage is brought to life by multi-hued the pos- vivid, sessions of the diverse assembly. very, rectangular, mirror-like pan- mirror-like rectangular, very, The els angled toward the floor. stark space reflects the sterility and unintentional coldness of a hospi- but it tal, is not until the perfor Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27September 2021 168 Critical Acts appealing; she is embarrassed by her appear her by embarrassed is she appealing; stage’s instantly panels.the is reflective Merritt of one on projected audience,face the her from away upstage facing character the with timony Merritt’streatment.stages same tes- Smith the ter,undergoing 20s,after her die in was who daugh- her watching after treatment dialysis Yalerefuses who patient hospital Haven New Merritt,Hazel Daughter”a Evangelist features instance,For Smith’s “ASheet My Around campaigns.care health ticians’ and speeches poli- for propaganda become voices whose relate.ily Yet,characters the also are these read- most can member audience average the whom to characters the are vant,these and rele- most and captivating most are riences expe- whose average,characters the unfamiliar people. us,real to are familiar not are who those ing characters,her includ- of all that us reminds tions.individuals recognizable of portrayal The reac- sentimental elicit to intended creations play,the of fictional all are characters the if as world the from intellectually detaching from Rather,audience the prevents presence their audience.an draw to gimmick a not are ties personali- recognizable these of voices the former Texasgovernor Richards. Ann However, Lance Siegel, Joel Armstrong, and critic film cyclist large,as at such audience the to familiar are who individuals many of voices the includes monologue.the for selected has Smith that title a vocation,with and along character’scurrent name the indicates which space,playing the above screen small a onto flashed is that projection a of use the by trayed por being characters the of identity the ing policy.lic pub- or opinion public on impact or relevance no citizen’shas individual voice the audience silenced.essentially Similarly,is but an without unheard only not citizen’sis individual voice viewpoints.conflicting platform, a the Without to exposure by gained knowledge the onstrates dem- that participant the from response a tate necessi- opinions conflicting wherein meetings hall town the by afforded release important the audience.the Smith’sof reflects minds play the jokes about not wanting her disheveled appear disheveled her wanting not about jokes interview,the Smith’sof for recording ance and This reminder is important because it is it because important is reminder This grasp- in aided further is audience The Let Me Down Easy Down Me Let - - - or by policy.by or public the by untouchable doors,if hospital as closed behind hides that issue an of reality the of evidence is it exhibitionist; not is experience Smith’spublic,in the play,but of tion Merritt’s atten- the draw politicians which with spectacle interest human the as Merritt’sserved have grief.like her Stories in lie undoubtedly that emotions the to cave forward,to refusing story,her tells straight - and humble is Merritt properly.procedure the completing out she As clothes,bloody with- her taxi, wearing a still in blood.home own her her sent in nurses The soaked became woman young found,the and be to nowhere were functional,nurses the dys- became machine dialysis the to daughter death.her mature connecting tubes the When pre- and eventual her to contributed nurses attending her of behavior negligent sis,the yet dialy- of procedure routine a receiving been fades.inhibition Merritt’sher had daughter story,heartbreaking her sharing begins Merritt tape.on However,captured be to ance once sity of experience should be one constant: each constant: one be should experience of sity diver that within that us reminds Easy Down diverse.incredibly is them experience all we which in manner universal,the is but humanity.death and illness of experience The shared our of affirmation an ipation,as and partic- civic of expression vital a as released of are voices Americans the which in venue of kind new citizens.a provides Instead,play the and politicians the of attention the consumed lately has that debate care health the to answer nation. the across meetings hall town in shared being opinions of variety the Smith’sreflects in play shared tives practices.perspec- care of range broad The health current in inconsistency and classism of layers intricate the reveal to serve this as such located.suddenly Segments were records the Medicine,of Dean the was she that revealed history.medical her ing However, Katz once compil- with anew start to required be would they that and lost irrevocably were records her that her informed case her to assigned dent stu- checkup,medical one the at that explained patient.cancer Katz a also was who Katz Ruth administrator hospital featuring piece comedic,the segments,as enlightening such Merritt’s tragic story is juxtaposed with juxtaposed is Merritt’sstory tragic does not provide an provide not does Easy Down Me Let Let Me Let - Critical Acts 169

Twilight: Los Angeles, Angeles, Los Twilight: Politics, Discourse, and American and Discourse, Politics, 46, 1:111–18. 46, Theatre Journal Appeal. www.commercialappeal.com/news/2009/ Appeal. aug/08/hundreds-pack-boisterous-town-hall- meeting/ (10 January 2010). Town Communication as The Cultural Form: In Hall Meeting.” Hart and Roderick P. eds. , Agendas Society: New Boston: 173 –92. Sparrow, Bartholomew H. Rowman and Littlefield. www.minnpost.com/ Minnpost.com. the angst?” stories/2009/08/14/10890/health_care_ragr_why_ all_the_angst (10 January 2010). ‘God Bring Damn a You Why Did Protestor: to a HuffingtonGun’ Presidential Post. Event?” www.huffingtonpost.com/2009/08/11/chris- matthews-to-town-ha_n_256952.html (10 January 2010). . New York: Doubleday. York: New 1992. 1992.” Ryfe, David Michael. 2001. “Presidential 2001. David Michael. Ryfe, “Health Why care all rage: 2009. Sharon. Schmickle, Hall “Chris Town Matthews to 2009. Lila. Shapiro, 1994. Anna Deavere. Smith, and the of Massachusetts University Institute York New Technology TDR: The Drama ReviewFallTDR: 54:3 2010.The ©2010 (T207) Drama Villarreal, Edit, et al. 1994. “Twilight: Los Angeles, Angeles, Los “Twilight: 1994. et al. Edit, Villarreal, Theatre Theatre FOXNews.com.

www.msnbc MSNBC.com. office.” congressman’s (15 March .msn.com/id/32377979. 2010). KVUE.com. www.kvue.com/archive/65250442. html (10 January 2010). Louis.” and St. Tampa in Violent www.foxnews.com/politics/2009/08/07/health- care-town-halls-turn-violent-tampa-st-louis/ (10 January 2010). 1:117 –19. 45, Journal www.npr.org/templates/ on the Body.” Written (10 January story/story.php?storyId=113771426 2010). The Commercial Ugly over Health Care.” Turns KVUE. 2009. “Interview: Anna Deavere Smith.” Anna Deavere “Interview: Smith.” 2009. KVUE. Turn Halls Town “Health Care 2009. FOXNews. References “Swastika painted at 2009. John. Bazemore, Laris, Katie. 1993. “Fires in the Mirror.” “Fires in the Mirror.” 1993. Katie. Laris, of Suffering and Succor, “Tales 2009. Jeff. Lunden, Meeting Tension: Hall “Town 2009. A. Linda Moore, individual’s experience of individual’s illness and dying and should be tempered dignity, with hope, As one characters, of Smith’s understanding. do Don’t “Let me down easy. says, James Cone, do it Let don’t too it mean. be easy. it harshly, when I die.” [...] Let me die easy, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00009 by guest on 27 September 2021