Theatre Design & Technology - Fall 1995 - 56

he resorted to an interpreter. Most of us felt awh'ward and uncertain
ho\r to react to the pastoral scene. \rorried that \re'd be called on to
participate in unknOlrn and potentiallr embarrassing \rars. and more
than a fe\r of us remarked that it \\"as like stepping into scene from
I969-excepl \rithout the affectation of llo\rer-child costuming.
:\s twilight settled a little afler nine. \re under tood the reason for
the late beginning hour. Stanie\rski has a spiritual approach to the experience of theatre. He belieres that harmonr \rith nature is essential for
actor :Uld audience alike. The one kilometer \\'alk through the fre. hsmelling fields and under the darkling sky \ras astonishingh' beautiful.
We \rere led single file br torchlight. accompanied br the gentle sounds
of birds and dogs: rery settling and beatific. We crossed a field. negotiated a small creek \rhich \ras spanned by a ten-inch \ride stone girder.
\\'alked up an incline towards some dense foliage. and entered a grore of
trees on a small rise of land. In the cemer \ras a perfect circle of eight
tall, leaf-corered linden trees. (I later learned that lindens hare mystical
value in Polish literary tradition.) The trees created a clearing like
Stonehenge. We passed through it and came upon two ancient buildings-the company's working space. After a brief stop for risits to the
restroom and to check coats and bags (res. ther had a check room), we
were led into a rery small room at the end of one of the buildings. The
company \ras inside. singing. and the room \ras emireh' lit br candles
standing in 10a\'es of round country bread. The combination of llickering
light and imricate harmonies from the singers created an enrironmem
that can only be called religious. Some of the local farmers. who are
clearly on excellent terms \rith the company \rhich has lired and \\'Orked
in this rural setting for eighteen rears. stood outside and watched
through the open \rindOlrs. Their faces were from Breughel br \rar of the
19th cenltllY impressionists and I \ras deeply touched br their respect for
the erent.
The room had a rough \\'Ooden platform at one end. with a short
ladder reaching 10 a higher lerel on \rhich some of our group \rere
seated. Others \\we on benches all around the room. \rhile I and still
others sat on the open \rindOlr sills. as the forty of us \rere too large an
audience for the space. The enrironment \\"as not unlike \rhat
Schechner chose for his lllakbetb around 1970 or the ones Jerrr Rojo
created in his Mobius Theatre at the L'niversity of Connecticut. Devotees
of Environmental Theatre \\'Ould feel at home here, but I couldn't help
but notice that this space related organicallr to its rustic surrounding
and didn't have any of the self-consciousness that manr theory-driven
and overly sophisticated designs of the 60s and 70s in America had.
This just seemed to be a practical place to make theatre.
The performance was astonishing. It is erident that Stanie\rski's
theatre erolred from GrotOlr ki's (he worked with the master two decade ago). The performance reminded me of Tbe COllstallt Prillce in
it riolent phrsicalit\ยท. and I can best describe it by borrOl\'ing Peter
Brook's tcrm. "holy theatre." Therc \ras nOlhing precious or precocious
about it. perhaps because of the authenticity of the ell\'ironment in
\rhich it \\"as performed. perhaps because of the musicalitr of the ceremony. but mostly because of Ihe extraordinary skills. concentration.
and commitment of the actors. lnlike some of the cold. intellectual
work of Joe Chaikin and Dick Scheckner. StaniC\l'ski's is rooted in orthodox ritual and music. and has a spiritual rather than a cerebral quality. I felt its passion.
The play was Tbe Life oJrlrcbJ)riest t1l'mklllll. The company premiered this in 1983, and it deals with the ecstatic life and martyrdom of
a Russian priest in the 17th century. Arvakum wrote his autobiographv
while in prison, shortly before he was burned at the stake. and the story
;.,

r

A

I

TD&T

is \rell-knOlrn to the farmers \rho watched the performance \rith us.
The performance \\'a largely sung-music accompaming at least ninety
percent of the text-and the singers and their harmonies \rere hrpnotizing. The candles sputtered. were snuffed Oul and re-Iit. thus sustaining the religious quality of the ceremonr. The actors \rore rery simple
garment of rough fabrics and heary boots. Ther mored energeticallr
from one cluster to another in complex rh~lhms and \rith breath-taking
gymnastiC faCility. creating pOlrerful images and d\l1amic symbols. The
props \rere all rough \rood. items found about a farm. T\ro cart \rheels
and an axle. some stools. farm implement . These \rere rariously arranged. assembled. and metamorphosed into items for torture (a \\'heel
to break a \\'Oman on) and for adoration (a cross). The entire performance could not hare been forty minutes long-probablr more like
tweni\-fire or tltiri\'-and ended \rith an actor saying ..the end" in
hearilr accented English. There \\'as no curtain call.

A spectator's sketch of a scene from The Life of

Archpriest Avvakum.

:\s \re filed out. I paused long enough to \\'Onder \\'hat this actorcentered theatre must be like for the group of American designers I was
\rith. For me. there was more risual imagination in this production than
I find in the most expensire Broad\ray peclacle. and I \rondered if mr
colleagues could take home \rith them any inspiration from this dazzling exhibition of "poor theatre" \re had just seen.
\ext. \re \\-ere shOlm an upstairs room in the larger bUilding
\rhich had been a Gorernor's mansion. The companr is renOl'ating this
bUilding as a part of their life-mission. Onlr a portion of their \\'ork entails making theatrical performances. Of equal importance to them is
integrating themselres with and contributing to the life of this \'illage.
One of the more memorable things Stanie\rski said during the c\'CIling
\\"as that when the company arrived. eightcen rears earlier. the rillage
had known onlr silence. The farmers had \rorked silently. caten silentlr.
slcpt. The company had brought sound-thc sounds of laughter. of
music. During this entr'acte \re \\-ere sen'cd hcrbaltea and giren pack-



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1995

Contents
Theatre Design & Technology - Fall 1995 - 1
Theatre Design & Technology - Fall 1995 - 2
Theatre Design & Technology - Fall 1995 - 3
Theatre Design & Technology - Fall 1995 - Contents
Theatre Design & Technology - Fall 1995 - 5
Theatre Design & Technology - Fall 1995 - 6
Theatre Design & Technology - Fall 1995 - 7
Theatre Design & Technology - Fall 1995 - 8
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