Front Cover by Fred Wilson
X (detail) from the Exit Art portfolio Tantra 2005
Among the lesser discussed aspects of “mainstream” theater (and film as well as TV) in the U.S. is its overarching goal to stir proud “insider” feelings in its large-scale audiences. Realism became a major implement in that regard.
This fall Peter Brook presented Why?, a play-as-conversation between three actors in which they reflect intellectually and performatively in deftly sketched scenes on theater-making from the actor’s perspective.
Some works in the history of music have received directly opposing assessments. Throughout his life, Giuseppe Verdi wrote operas. And then, suddenly, at the same time as Aida, he composed his Messa da Requiem.
My music is open on the stand, yet at the beginning of Bela Bartók's sixth string quartet I can only listen. A string quartet is usually a collaborative effort, but for nearly a full minute our violist Geri plays the tune alone: Mesto—sad.
I’ve been trying to find a way to frame an idea, and I believe my somewhat pithy title above basically catches it.
