QUOTE(Job @ Mar 20 2007, 01:43 PM)
If this is the only production you've seen of this great play, you might be a bit short of good yardsticks to measure it by. We're talking about living theatre here, Ben, not abstracted Brechtian theory, so it is faintly ridiculous of you to pontificate about who may be permitted to 'own and understand' The Caucasian Chalk Circle. And you certainly reveal your own limitations by resorting to the Telegraph jibe.
Oh dear Job! Again you seem to be showing your own limitations when discussing living theatre!! I wonder what you think you mean by this term? Please enlighten us. Forgive me if I'm wrong but I'm under the impression you are a teacher, I would love to know your own theories on the so called abstracted Brechtian theory. By the way Filter's faithful and, playful and meaningful production of CCC is, no, not my only viewing of this play i've been lucky to sit through numerous productions
and i must say most of them were too concerned about how clever they could be, how meaningful they could be without once involving their audience making it pompous and turgid. May I refer to the Complicite version of the exact same Frank Mcguinness adaptation, a piece that was visually superp a piece that was so concerned with it's physicality and not it's heart and meaning, that all one heard when leaving the theatre ten years ago was how imaginitive Complicte were! Now, you may think that is LIVING THEATRE but I can assure you it is not. As the great theatre critic Harold Hobson wrote; ' Brecht has helped to mould every theatre worker, and yet no British company has succeeded in giving a performance that does him justice. That is because his disciples have found it easier to assimilate some sort of comprehension of his doctrine than to display his theatrical flair. The poverty of British productions of Brecht, heavy sententious and void of life, was exposed by the Berliner Ensemble when it came to one of Peter Daubeny's World Theatre seasons. To the Berliner Ensemble had ben revealed a truth hidden from their British rivals, namely, that Brecht and entertainment are synonymous."
Might I also add, the frist time I saw Filter's version in Norwich I attended a QandA with the company and members of the audience and to our surprise there was a couple who had seen Brecht's very own version in 1954. They were so moved to have seen Filter's CCC because for them it brought back memories from that night in 1954, as they said both were anarchic, dark, playful, inventive but over all truthful they also added that Filter's production matched his more than any they had seen in the intervening years.
So Job, maybe you know what LIVING THEATER is and yes I am willing to discuss this with you but I have a very grave doubt as to if you would know it even if it came and bit you on your ear.
By the way are you any relation to the Comforter?