Word: brecht
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...Bertolt Brecht, in Jungle of Cities, assaults our faith in a rational system of motives and rewards. Jungle of Cities presents a challenge, a struggle, and a resolution-but no motivation, no rules, no explanations. It is what professional wrestling would be without the planned choreography and pay off. It is inexplicable in our terms; but the incongruities must be accepted...
...Brecht slaps us in the face with these non-motivated actions in the first scene of the play. In the Chicago library where he works, George Garga (Michael Moriarty) - an honest, hard-working, family supporting, country boy-is offered fifty dollars for his opinion on a book. An Oriental lumber dealer named Scblink (Nicholas Kepros) has made the offer. Once Garga has been tantalized. Schliak follows up the offer by signing over his house, his business, and his money to the younger man in the hope that Garga will be ruined by power which he cannot control. Why does Schlink...
...Charles Playhouse production of Jungle of Cities directed by Louis Criss, allows the questions of motivation to remain unanswered. In this way. Criss allows Brecht's message to be revealed at the proper time. The director has resisted the call for absolute didacticism and delicately guides his players through Brecht's beautiful and puzzling script and the labyrinthine set by William Trotman which mirrors...
...Theoretically, there is a three-point connection between the set and the production concept, which Evangeline describes as "pop art gone sour." First it pushes the pop art connotation. which hopefully conveys the same sort of alienation to the audience that German expressionism would have to Brecht's audiences. Second. A Man's A Man is a play about an individual turning into another individual. In a sense he goes through a rebirth. and the womb imagery becomes important. Third, both the set and the process by which Galy Gay becomes Jeraiah Jip are synthetic...
...central pool, and you put them in the leads, and fill in other people around them. Here hopefully we have excellent people in every role, excellent people playing soldiers, which is great, you know, excellent people playing whores, which is great. And because you have a situation like this, Brecht offers the opportunity of creating an ensemble, so that you don't develop a star system. And by having a repertory, someone may have a lead this year and play a footsoldier next year; or someone may be a director this year, and play a lusty wench next year...