Dostoevsky’s theater is set on a metaphysical stage — both “The Grand Inquisitor” and “9 Circles” explore whether the actions of its central characters are meaningful or absurd.
Peter Brook
Theater Review: Samuel Beckett’s Minimal and Maximal “Fragments”
Yes, the confusion of my ideas on the subject of death was such that I sometimes wondered, believe me or not, if it wasn’t a state of being even worse than life. –- Samuel Beckett, “Molloy” Fragments. Texts by Samuel Beckett (Rough for Theatre 1, Rockaby, Act Without Words II, Come and Go, and Neither). […]
Coming Attractions in Theater: March 2011
An exciting month, and that isn’t hyperbole. A couple of North American premieres: a futuristic opera from MIT’s Tod Machover and poet Robert Pinsky and a drama tweaking The New Testament from Howard Brenton. Toss in iconic director Peter Brook staging Beckett, F. Murray Abraham as Shylock, and Car Talk:The Musical and you are talking about taking out the smelling salts