Directorial Perspectives: The Image, the Platform, the Tightrope

Paavolainen, Teemu

doi:10.1007/978-3-319-73226-8_3

Teemu Paavolainen⁵

Part of the book series: Performance Philosophy ((PPH))

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Abstract

Thread 3 assumes the pro-theatrical perspective of the modernist theatre director. As perhaps the default connotation of theatricality within the theatre, the ‘theatricalism’ of the avant-gardes is dissected into three fairly distinct models of directorial theatricality: the Image—deep or shallow, as for Richard Wagner and Georg Fuchs; the Platform—of skill or tension, as for Vsevolod Meyerhold and Bertolt Brecht; and the Tightrope—this is Peter Brook’s metaphor for a kind of theatrical immediacy that navigates between the ‘holy’ and ‘rough’ aspirations of the other two models. What marks each of the three models as specifically theatrical is how the very density or sparsity of their textures ostensibly deviates from some historically specific performative norm—be it operatic convention, stage naturalism, capitalist society, or literary or ‘deadly’ theatre. By length the chapter focuses on Brook most extensively, not only as a perceptive commentator, but also as someone harshly ridiculed for his theatricalist essentialism.

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Notes

1.
Saltz 2003, 1352.
2.
Chinoy 1976, 14.
3.
Postlewait and Davis 2003, 12, 4.
4.
E.g. McGillivray 2004, 84–94.
5.
Innes and Shevtsova 2013, 3, 34, 54.
6.
Puchner 2002, 8–9; Innes and Shevtsova 2013, 77 (my italics).
7.
Saltz 2003, 1353.
8.
Shepherd and Womack 1996, 326–7.
9.
Apart from the Russian line—from Meyerhold to Valery Fokin—Innes and Shevtsova’s “directors of theatricality” include Ariane Mnouchkine, Frank Castorf, Thomas Ostermeier, Robert Sturua, Eimuntas Nekrošius, and Oskaras Korsunovas (2013, 77–115). Further applicants could include Adolphe Appia, Gordon Craig, Antonin Artaud, Max Reinhardt, and Robert Wilson. I myself have discussed Vsevolod Meyerhold, Jerzy Grotowski, and Tadeusz Kantor in some depth, in Paavolainen 2012.
10.
Chinoy 1976, 17.
11.
Saltz 2003, 1352–3.
12.
As for the other core practice providing such metaphors—though I will only address it in Threads 5 and 6—the figure of weaving also goes some way towards decentralizing the specific masculinity of modern/ist authorship.
13.
See Roesner 2014. Pater 1986, 87, cited in Roesner 2014, 5; Fried 1998, 164.
14.
Pepper 1984, 243.
15.
Saltz 2003, 1353.
16.
Gassner 1965, 179.
17.
Taruskin n.d.; “unique webbing” is quoted from Wagner’s own discussion of the scene, in a letter to King Ludwig II of Bavaria, dated 5 May 1870.
18.
See e.g. Puchner 2002, 44.
19.
Wagner 1892–1899: 1, 52, 95 (the first quote is from Art and Revolution, also of 1849).
20.
Semper 1989, 254; Semper quoted in Mallgrave 1996, 293. While Koss (2010, 25–6) finds Semper’s argument “hardly unique enough” to secure him as Wagner’s primary source, their significant historical parallels do suggest that “the artistic interrelation that occurred between the arts also took place within each one.” For an argument on Semper’s central influence on Wagner , see Mallgrave 1996, 7–10, 60, 126–9.
21.
Wagner quoted in Koss 2010, 28; on Semper’s theory, see especially Mallgrave 1996, 299–300.
22.
Certainly it was not destroyed after the first performance of the Ring tetralogy, as initially planned (Koss 2010, xxvii). The following discussion owes most to Koss 2010 and Smith 2007.
23.
Smith 2007, 11–2.
24.
Smith 2007, 13 (Schiller on organism and mechanism), 25 (on Bayreuth as a site of pilgrimage).
25.
E.g. Smith 2007, 30–1.
26.
Wagner 1892–1899: 5, 334–5 (“The Festival-Playhouse at Bayreuth,” 1873). On Semper’s earlier but very similar discussion of his 1865 Munich designs, see Koss 2010, 61–2.
27.
Smith 2007, 35, 18.
28.
Mallgrave 1996, 300–1; Semper’s prime example would be Greek polychromy and the marble beneath.
29.
Based on the etymological connections of the German Naht and Noht—for “seam” and “necessity”—leaving seams undisguised was, for Semper, to “make a virtue out of necessity” (Mallgrave 1996, 292).
30.
Puchner 2002, 34–45, 52–4.
31.
The quote is from Taruskin n.d.; see also Smith 2007, 26–9, 33–5.
32.
Gorelik 1962, 289. My key references here will be Fuchs 1959, Koss 2010, and Jelavich 1985.
33.
Koss 2010, 160.
34.
Fuchs quoted in Koss 2010, 121.
35.
Fuchs 1959, xxviii; Koss 2010, 163–4.
36.
Fuchs 1959, 98.
37.
Fuchs 1959, 6, 43.
38.
Fuchs 1959, 46–7.
39.
Fuchs’s debt to sculptor and visual theorist Adolf von Hildebrand (1907/1893) is at the very core of Koss’s arguments in Koss 2000 and 2010.
40.
Fuchs 1959, 68.
41.
Fuchs 1959, 72, 70.
42.
Fuchs 1959, 67, 73 (“highest figures” quoted from Hildebrand).
43.
Fuchs 1959, 74, 76.
44.
Fuchs 1959, 76, 73, 72.
45.
Fuchs 1959, 72.
46.
On Behrens and Scheffler, see Koss 2010, 174, 179 (also Jelavich 1985, 189–90).
47.
Behrens 1990, 140, cited in Koss 2010, 174.
48.
Otto Falckenberg (then on the executive board of the Artists’ Theatre), cited in Jelavich 1985, 206.
49.
Koss 2000, 3, 2010, 184, 185ff.
50.
Koss 2010, 180–4; Jelavich 1985, 208.
51.
Jelavich 1985, 208, 201.
52.
Fuchs 1959, 3–5.
53.
Jelavich 1985, 203–4, 198–200, 308; see also Koss 2010, 119.
54.
Gorelik 1962, 291, 295.
55.
Meyerhold 1998, 149, 147.
56.
Meyerhold 1998, 80, 85.
57.
Meyerhold 1998, 63.
58.
Meyerhold 1998, 26 (“The Naturalistic Theatre and the Theatre of Mood,” 1906).
59.
Meyerhold 1998, 89–90. On the production, see e.g. Braun 1995, 86–95.
60.
Meyerhold 1998, 91, 63. The latter quote is from “First Attempts at a Stylized Theatre” (1907), the textural language of which resonates well with the present project: “Stage movement is achieved not by movement in the literal sense, but by the disposition of lines and colours, and by the ease and cunning with which these lines and colours are made to cross and vibrate.”
61.
Braun 1995, 89; on Meyerhold’s notions of melody and harmony, see e.g. Roesner 2014, 79.
62.
Meyerhold 1998, 85, 129; on the notion of synchrony, see also Braun 1995, 94.
63.
Meyerhold 1998, 122, 136.
64.
Meyerhold 1998, 126, 125, 146, 148.
65.
Meyerhold 1998, 125, 147. Cf. Fuchs 1959, 46–7; on Grotowski, see Paavolainen 2012, 93–161.
66.
Meyerhold 1998, 124, 137–8, 150; his example of the latter is the Mousetrap scene in Hamlet.
67.
Leach 1989, 11, 128; see also Innes and Shevtsova 2013, 81–2.
68.
Leach 1989, 38–41, 82, 94.
69.
Paavolainen 2012, 53–92.
70.
Gorelik 1962, 285–8, 298.
71.
Morris 1968, 224.
72.
Honzl 1976, 91, 83, 80. If such “structural stability” is best established in theatres of extended tradition, however (as in Meyerhold’s “truly theatrical ages”: 1998, 146, 148), the protean stage may also “actualize different aspects of theatricality at different times” (Honzl 1976, 92).
73.
Benjamin 1998, 22.
74.
Brecht 2015, 65–6.
75.
The 1949 and 1939 quotes are from Brecht 2015, 254 (section 74) and 145; the *1956 quote is from Brecht 1967: 17, 1210. The asterisks indicate passages for which I know of no translation in English; for *1931, however, I have modified the newest existing one.
76.
Puchner 2002, 140, 152; Brown 1991; Smith 2007, 76, 78–9.
77.
E.g. Brecht 2015, 187–8.
78.
Brecht 2015, 57–8. As for the implicitly mechanistic “breaking down” of conditions and theatrical material, as it is rendered in the English translation, untied or resolved are not only more literal but also more textural translations of the German “löste … auf/die Auflösung” in Brecht 1967: 15, 220, 222.
79.
Brecht 2014, 55.
80.
E.g. Brecht 2015, 143–4, 192–3 (section 17).
81.
Brecht 2015, 251 (section 67).
82.
Brecht 2015, 185, 240 (section 39).
83.
Willett 1986, 13–4; on Neher, see also Baugh 2006.
84.
Brecht 2015, 188, 157.
85.
Brecht 1967: 15, 441, 446.
86.
Brecht cited in Willett 1986, 98.
87.
Egon Monk cited in Willett 1986, 113; on Neher’s chairs, see also Brecht 2014, 117–8. On these and the theatrical/cultural affordances of chairs more generally, see also Paavolainen 2012, 44–5.
88.
Brecht 2014, 187.
89.
Brecht 1967: 15, 458.
90.
Brecht 1967: 15, 457–8, 451.
91.
Puchner 2002, 153; my discussion of Brecht and performativity is inspired by Zelezny 2014.
92.
Brecht 2015, 156, 179, 251 (section 67).
93.
Brecht 2015, 186, 190 (section 6).
94.
Cf. Willett 1967, 156–9, 167.
95.
Brecht 2014, 46.
96.
Koss 1997, 810, 812–3.
97.
Koss 1997, 817.
98.
Koss 1997, 810, 817, 818.
99.
Brook 1998, 64.
100.
Brecht 2015, 156.
101.
Pearson 1992, 153, 156–7. “An Apologia for Theatricality” was Evreinov’s inaugural address when he succeeded Meyerhold at Kommissarzhevskaya’s theatre in August 1908.
102.
Evreinoff 1927, 6, 23–4; Pearson 1992, 163.
103.
Brook in Williams 1992, 200.
104.
On the Bouffes du Nord, see especially Todd 2003. “Interweaving performance cultures” is Erika Fischer-Lichte’s (2014) intriguingly textural concept of multicultural performance.
105.
Brook 1990, 11.
106.
Hare’s criticism and then correspondence with Brook is quoted at length in Kustow 2005, 297–300.
107.
Brook quoted in Worrall 2007, 1343.
108.
Evreinoff 1927, 148, 33.
109.
Brook in Todd 2003, 251–2.
110.
Brook 1993, 56, 72; Brook 1990, 60 (Wagner). On holy and rough theatre, Brook 1990, 47–109.
111.
Brook 1993, 105.
112.
Brook 1987, 128.
113.
Brook interviewed in Croyden 2003, 174, 72.
114.
Brook 1987, 46; Brook in Todd 2003, 27.
115.
Brook 1998, 74.
116.
Brook 1993, 11–2.
117.
Brook 1998, 165, 172 (storytelling); Brook 1993, 72, 55 (empty objects).
118.
Brook 1998, 19.
119.
Brook 1993, 103; Brook in Croyden 2003, 102–3; Brook in Todd 2003, 52 (Meyerhold).
120.
Brook 1987, 42–3.
121.
Brook 1987, 191–2.
122.
Brook 1990, 98.
123.
Brook cited in Kustow 2005, 187.
124.
Brook in Croyden 2003, 292, 154, 8.
125.
Brook in Croyden 2003, 6–7.
126.
Brook in Croyden 2003, 7–8.
127.
Marowicz in Williams 1992, 160–1.
128.
Brook 1987, 128; Brook in Croyden 2003, 74. See Heilpern 1999 for an enjoyable chronicle of the journey; note also Donald Judd’s incidental emphasis on ‘interest,’ in Thread 2.
129.
Brook 1998, 159; Brook in Croyden 2003, 94–5 (the Empty Space analogue is mine).
130.
Williams 1992, 203.
131.
Brook in Croyden 2003, 108; Mirren 2007, 122.
132.
Hunt and Reeves 1995, 184; see also Oida 1992.
133.
Brook in Croyden 2003, 67–70; Heilpern 1999, 89. Margaret Croyden’s interviewer’s reservations aside (2003, 70: “People have various reactions, don’t they?”), Brook’s early confidence in the box is movingly amusing: “The box is an object you can find almost anywhere, at every street corner. It’s a very common, unpoetic, ordinary concrete object out of the everyday world, and it has got a million identities … so direct that it will make the same sense wherever in the world you play it: People will have the human sense of enclosure” (Brook in Croyden 2003, 67–70; original interview from 1972).
134.
Brook 1987, 115.
135.
Heilpern 1999, 68–70, 201–3.
136.
Heilpern 1999, 204–5.
137.
Mirren 2007, 122.
138.
Heilpern 1999, 39, 1–2.
139.
Brook 1993, 17, 33.
140.
Brook 1993, 141–2; see also Williams 1992, 413–4.
141.
Brook 1993, 137.
142.
Brook 1993, 138–40; see also Brook 1998, 131.
143.
Brook 1987, 124.
144.
Brook 1993, 30–2.
145.
Brook 1998, 132; Brook in Croyden 2003, 70 (here with the boxes as the immediate “references”).
146.
Brook in Todd 2003, 185; Brook in Croyden 176, 173.
147.
Brook 1993, 40 (“triple balance”); Brook in S. Brook 2013.
148.
Brook 2010; since then, Brook has only directed an English version of The Suit (2012); The Valley of Astonishment (2013); Battlefield, based on The Mahabharata (2015); and The Prisoner (2018), all with Marie-Hélène Estienne.
149.
Brook in Todd 2003, 220–1. Already in 1991, Brook tells of having planned a production of The Magic Flute for years, but having declined it as he “could not once again … find a way of doing gods and spirits … using the same images, or deliberately not using them” (Brook in Croyden 2003, 235).
150.
Woolfe 2011.
151.
Croggon 2012.
152.
Theatre Reviewer 2011.
153.
Swed 2011.
154.
Woolfe 2011.
155.
Waleson 2011.
156.
Woolfe 2011.
157.
Brook interviewed in Shaw 2011.
158.
Croggon 2012.
159.
Brook 1998, 74.
160.
Brook cited in Croyden 2011.
161.
Swed 2011.
162.
Brook in S. Brook 2013. See also the trailer: Théâtre des Bouffes du Nord 2013.
163.
Puchner 2006, 5.
164.
Chinoy 1976, 9, 4.
165.
Schneider and Cody 2002, 5, 4.
166.
Puchner 2002, 9, 31.
167.
If many an auteur director has turned perfectly practicable performers’ Platforms into absorbing Images—think Craig, Appia, Wilson, or the ultimate ‘estrangement’ of life in Tadeusz Kantor’s Theatre of Death (see e.g. Paavolainen 2012, 163–207)—so also have Images increasingly taken on qualities of the Platform (think of video screens and their migration to three-dimensional objects). If the ‘poor theatre’ of a Grotowski may appear all ‘spread, light, sparse’ in the texture of its staging, it simultaneously exhibits an utter density of text, muscle, and breath. Indeed, an apparent emptiness on one level will often be woven through with excesses on others.
168.
Postlewait and Davis 2003, 4; Gorelik 1962, 295; on literal and figural, Jackson 2004, 144–5.
169.
Wagner 1892–1899: 1, 95; Brecht 2015, 57–8, 251 (section 67).
170.
Sedgwick 2003, 14; she refers to Bora 1997.
171.
Ingold 2011, 32; “making a stone feel stony” is Viktor Shklovsky’s (1990, 6) formulation.
172.
Sedgwick 2003, 14–5.
173.
On the coordination of action and perception, see e.g. Ingold 2011, 58–61; on the recessive body, see Leder 1990, 36–68; on the arguable performativity of such dynamics (and their ‘theatrical’ undoing), see the last section of Thread 5.
174.
Féral 2002, 97, 12.
175.
Weber 2004, 28, 44–5.
176.
Burns 1972, 11, 13.
177.
Burns 1972, 31. See also Brewer 1985, 18.
178.
Brook 1990, 11; Brook 1998, 132.
179.
Fried 1998, 171n.18 (discussing the work of sculptor Anthony Caro).

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University of Tampere, Tampere, Finland
Teemu Paavolainen

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Paavolainen, T. (2018). Directorial Perspectives: The Image, the Platform, the Tightrope. In: Theatricality and Performativity. Performance Philosophy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-73226-8_3

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DOI: https://doi.org/10.1007/978-3-319-73226-8_3
Published: 07 April 2018
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-73225-1
Online ISBN: 978-3-319-73226-8
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