The idea of “and Jeremiah Wept” is both a fascination and a complication. If we weep for others, are we weak, or empathetic? Framing matters. A hundred years ago, openly weeping for a friend may have been seen as inappropriate, but today, a public weeping may be assigned as a sign of strength of character in the bleeding heart of dismay.
Thirty years ago, as an undergraduate student at the University of Nebraska at Lincoln, I wrote a play: A Stone’s Throw. The full-length drama was about the dilution of the human spirit forged against the willful hard-edge of moral exhumation — but my production quickly became known on campus as “That Abortion Play.” You may download an early draft of “A Stone’s Throw” on this Boles.com Prairie Voice Archive Scripts page; and here some of the reviews of the production.
Continue reading → A Stone’s Throw: “That Abortion Play” 30 Years Later
“Don’t Tase Me, Bro!” will soon be out-hollered by us all in a new plea against the machine: “Don’t Drone Me, Dude!” — completely performed in the outcry of public theatricality that now passes for national security. Where once our shoes had more dangerous derring-do than the hovering skies above us — today, we are forced to realize our ordinary, everyday, overlord drones are blackening our city skies and that they are inherently more dangerous than all the guns in heaven.
Brander Matthews was one of the purist theatrical geniuses we’ve had in, and around, the intellectual American Stage. Brander rightly believed a play only existed in performance and that the performance and the text must be evaluated separately. He was also one of the first professors at an American University — Columbia University in the City of New York starting in 1892 — to promote, and foster, the idea that Dramatic Literature was just as important a field of study as any historic cave wall painting or artistic sculpture or aesthetic structure. He believed in the power of the Playwright to form the world.
Continue reading → Brander Matthews: Father of Dramatic Literature
The great international stage and screen director and designer, Liviu Ciulei, and the divine stage and screen actor Marlon Brando both share something disturbing as it is true: They both believed in bringing coiled drama into an explosion on the live stage. If the purpose of the Dramatic Arts is irrevocable change, they reasoned, then coiled detritus is the user agent that propels forward the story to the tragic, if not always cathartic, end.
I was fortunate to purchase authentic photographs of both Liviu and Marlon and I appreciate this moment of sharing them with you. Here’s the caption for Liviu’s photo:
International director Liviu Ciulei has been named Artistic Director of The Guthrie Theatre beginning Sept 1. 1980. The 57-year-old former head of Rumania’s leading repertory theatre, the Lucia Sturdza Bulandra Theatre, has earned an international reputation as a stage and screen director, actor, designer, and architect. His directing and design credits include productions throughout Europe, Great Britain, Australia, Canada and the United States.
Continue reading → Liviu Ciulei and Marlon Brando: Recoiling the Mortal Coil!
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