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Marat De Sade Studio Arena State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Studio Arena Programs Studio Arena 2-23-1967 Marat De Sade Studio Arena Follow this and additional works at: http://digitalcommons.buffalostate.edu/saprograms Recommended Citation Studio Arena, "Marat De Sade" (1967). Studio Arena Programs. 54. http://digitalcommons.buffalostate.edu/saprograms/54 This Book is brought to you for free and open access by the Studio Arena at Digital Commons at Buffalo tS ate. It has been accepted for inclusion in Studio Arena Programs by an authorized administrator of Digital Commons at Buffalo tS ate. For more information, please contact [email protected]. STUDIO THEATRE \/» n (iiilcuk (tnJ I Uh:(i in w < / < v nu n : "MARAT/de SADE" NEXT PRODUCTION LU K A S FO SS OSCAR WILDE's Brilliant Farce Sunday, February 5, 2:30 p.m. Tuesday, February 7, 8:30 p.m. WAI.TKK HKNDI., ( iu i . 'S t C o n d u c t o r .iKssr: i.k v in i:, vinii^i OF BEING ri!i:i)()NI.\ Choir Flos Campi — Vaughn William: Symphony #2 in E. Minor — EARNEST Rachma ninoff Directed by TOM GRUENEWALD Sunday, February 19. 2:30 p.m March 2-25 Tuesday, February 21, S:30 p.iv I.IMvAS KOSS, Conductor ZI\<> FKANCKSCATTl, Violinist Symphony in C — Bizet Violin Concerto — Tschaikovsky March 30-Apnl 22 ANTIGONE Tickets for all performances $4.80, $4.20, $3.60, $2.85 by Jean Anouilh Music Hall (Penn. St. Ent.); 885-5000 and or Denton, Cottier & Daniels, 32 Court St.; (Exc.Wed.). Enclose stamped, self- THE LESSON by Eugene Ionesco around BUFFALO APPILY, theatre is an artistic known to TV audiences as host of form that can be enjoyed in a two shows— Dialogue and Viewpoint persona] wav, without any deeper . Another invaluable Studio consideration than the fact that it A R E N A by-product is its Project represents en tertainmen t, d iversion, Curtain Call, a plan to develop purely and simply. However, when theatre interest at school levels the fundamental pleasure is en­ throughout the Greater Buffalo hanced by an understanding of area, particularly in underprivileged theatre in structurally artistic terms environments where opportunities for —from the points of view of the attending professional theatre would playwright, the director and the be limited, if not non-existent. Proj­ actor— the experience for the viewer ect Curtain Call takes theatre into the becomes- more personal and com­ schools and -brings to -the theatre, a plete . Among the plusses of the plan calculated to build future audi­ Studio ARENA Theatre organization ences for the Studio A R E N A but just are its special undertakings involv­ as importantly designed as a contri­ ing its public. A highlighting ex­ bution to the enrichment of culture ample this week (Friday) is the in areas which m ight otherwise be lorum to discuss Marat/de Sade untouched . jazz buffs in the Following the evening performance. Buffalo area are having 'more than For audience benefit, the production usual to swing about currently. The will be discussed from three points Ramsey Lewis Trio broke it up at of view— the director's, the actor’s Kleinhans last Sunday and on Sun­ and the playwright’s. Involved as day, Feb. 12 the Dave Brubeck panelists will be Marat/de Sade Quartet will play a one-nighter in director Jon Joryj actor Max Gulack the same hall. Meanwhile, starting who plays the Marquis de Sade; Dr. Norman Holland and Dr. Leslie Monday, Feb. 6, the team of Jackie Fielder, 'both from the State Uni­ and Roy (Kraal) will make the Royal versity English department. M odera­ Arms the place to be, if vou’re look­ tor will be Dr. Alan J. Drinnan, also ing for tlie ultimate in jazz vocaliz- of the Slate U. lacultv and well- ing. H Scene T he atre M a f’ a/im- V o l. -t. N o . 2 ? — Feb. 5-11. l lJfw Publisher F.ditor ami Art Director David B. Crombie Stan Helleur Scene Theatre Magazine is published weekly by Scene Publications Limited. Ihitlalo Address: OS 1 Main St. Toronto Address: 2 Carlton St. Printed in Canada. Subscription Kate: S5.00 per year. A play that swept Europe and Broadway now making its impact on Buffalo audiences attending the STUDIO arena THEATRE ol C'harenlon under the Direction of Peter Weiss the Marquis da Sade, abbreviated by popular concession to Marat/Sade, HTEH WEISS, painter, film and a play which swept: Europe be­ P director, novelist and play­ fore coming to America, is based on wright, was horn at Nowawes, near Merlin, in 1916. He left two historical truths: the famous — infamous — Marquis de Sade was Germany when Nazism came in, confined in the lunatic asylum ol and has lived in Sweden ever since, although he continues to Charenton, where lie staged plays: write in German. His experi­ and the revolutionary Jean-Paul mental films have been shown in Marat was stabbed in a bathtub by this country, and one of his Charlotte Corclay at the height of novels, l.ea retaking, has been the Tenor during the French devo­ translated. This play opened in lution. Berlin, at the Schillertheatre, in But this play-within-a-plav is not April 1964 and evoked an extra­ historical drama. Its thought is as ordinary response from the press modern as today’s police states and as well as the audiences: through­ the Bomb; its theatrical impact has out the reviews Weiss was m en­ everywhere been called a major in­ tioned as the German playwright novation. It is total theatre; philo­ to succeed Brecht, having brought sophically problematic, visually terri­ a new concept of theatre to the fying, it engages the eye, the ear international scene. W hen Peter and the mind with every imaginable Brook’s production was performed dramatic device, technique and stage in England by the Royal Shakes­ picture, even including song and peare Company a little later that dance. All the forces and elements year, it was greeted with similar possible to the stage are fused in acclaim. one overwhelming experience. This is theatre such as has rarely been seen before, NE ol the; most extraordinary Featured in the major roles at the O hit plays in many Broadway Studio A R E N A Theatre are John seasons is now intriguing playgoers Schuck as the inmate who portrays attending buffalo's Studio ARENA Jean-Paul Marat; Max Gulaek as the Theatre. The Persecution and. Assas­ Marquis de Sade; and Linda Selman sination of Jean-Paid Marat; as Per­ as the inmate who takes the role of formed by the Inmates of the Asylum Charlotte Corclay. Cuest director is Jon jory, artistic director of the Long modern times, lie the borderlines of Wharf Theatre in New Haven, Con­ sanity? necticut. Between 1797 and 1811 the direc­ According to jorv, the Studio tor of the Charenton Asylum which A REN A production is the first time was located near Fontainebleau, out­ Marat,/de Sade has been done on a side Pads, established regular the­ thrust stage. It has posed special atrical entertainments in his clinic as scenic problems which have been part of: the therapeutic treatment of solved by guest designer, Kar] Eigsti, his patients. l)e Sade, an inmate of former resident Scene Designer for Charenton from !8(Jo until his death Arena Stage, Washington, D.C. His in 1814, wrote and directed many of wife, Melly, is designing the M arat/ these entertainments am! it became de Sade costumes. fashionable in Paris to visit the The play is basically concerned asylum, as much to watch the antics with the problem of revolution. Are of the lunatics as to watch the per­ the same things true for the masses formance. These facts an; the stall­ and for llu-ir leaders? And where, in ing point ol Peter Weiss’s plav. Peter Weiss's notes on the historical background of the play From .1801 until his death in 1811 Sade’s encounter with Jcan-Paul tin; Marquis d.e Sade was interned Marat, which is the .subject of I his in tin; asylum of ( ’harenton, where pla\. is entirely imaginar\. based over a period of years he had the; only on the single fact that it was chance of producing plays among Satie who spoke the memorial ad- the patients and appearing as an actor himself. Charenton was an in­ stitution which catered to all who.se ( /m-An Mi\ \liuiinx rcnlci: Jtiliii Si hiii k in behaviour had made them socialh Mm til. K rnnrth illtin, Sttn W tllwrs uni! Jt'iii: Hchhurn impossible, whether they were luna­ tics or not. Here, were locked up "perpetrators ol (.'limes whose han­ dling in open court would not be in the public interest, as well as others who had been arrested lor serious political misdemeanours or who had allowed themselves to be used as the evil tools ol high intrigues." In exclusive Paris circles it was considered a ran; pleasure to attend Sade s theatrical perloi inances in the "hiding place lor the moral rejects of civilized soeietv.” d l'C S S lit Yhll'ill's I * i in •!':! 1. Fveil i.’i tin’s not be taken as evidence ol heroism, speech his real attitude towards since his imprisonment was due to Marat is i| lies', ionable, since hr charges of sexual extravagance and made [In.: speech primarily to save not to political acts. These, excesses, his own skin; at that time his posi­ in monstrous written iorni; were tion was in danger,, his name on the once again to cause his downfall list ol those marked out lor (hr under the new regime.
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