Word: theaterã
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Daniel R. Pecci ’09 is interested in what we think of as theater??and how he can expand the definition. The active member of Harvard theater began his creative exploration as a child, when he would orchestrate what he calls “haunted hayrides.” “We would create enormous spider webs, pyramids and pick-up trucks filled with hay,” he says. His play “Black-eyed Susanna,” written in his senior year of high school, won the Phyllis Anderson Prize...
...soundtrack. “I hate theatery things, things that look and feel so theatery, these really cheesy soundtracks, piano music, highlighting moments by having tracks under it. It’s very trying to be cinema, trying to be movie,” Vartikar says. “Theater??s more alive with a heartbeat. It’s more about people interacting in front of us. It’s about the schematic coming to life.” “The Tragedy of Hamlet: Prince of Denmark” attempts to bring Shakespeare?...
...meager space of the cramped stage. Through their vivacious singing and dance routines, the performers ultimately create the illusion that the set does not. In its conjuration of the spectacle of the Old South and its incorporation of the onerous and horrid messes of reality, the Boston Conservatory Theater??s latest adaptation of Show Boat is a production that refreshes itself and asserts its modern-day relevance. As director Russo writes, “More than 80 years after its opening and with a fresh set of eyes, Show Boat still has something...
...very multimedia and all about possibility.” The production staff of “The Space Between” have all influenced the energy and direction of the play and taken the opportunity to experiment with and explore the possibilities being on the American Repertory Theater??s Mainstage provides. As such, the production has taken on a collaborative dimension, with the experienced production staff adding their own creative vision to Videt’s text. The result is in an organic, malleable, multifaceted whole that represents the artistic visions of a group, not one individual...
...play’s producers, in an email. Around the time Pinter was writing the screenplay for “The Birthday Party,” other playwrights who were proponents of absurdist theatre—such as Eugene Ionesco and Samuel Beckett—were also exploring theater??s possibilities by rejecting conventions such as sequential time patterns and logical dialogue. “The Birthday Party” is part of a movement in the history of theatre which embraces the absurd, and in turn, seeks to unsettle the audience by disorienting them with a menacing...