I always enjoy talking to Phil Bennett. Phil is currently teaching at Beowulf Alley Theatre, ActingLab@theAlley, and will be directing The Vertical Hour at Beowulf, opening this fall. Recently we met up again, this time at Bentley's, to talk and catch up again on some of our conversations about theatre, acting, teaching and lord knows...Stanislavsky. Now, Phil and I have some profound differences regarding the basic practice, work and reasoning of Stanislavsky. We share, however, the absolute love and commitment to the largest ideas and intentions of Stanislavsky - that theatre should be a conciousness raising experience for the spectators, and this is to be accomplished through the work of a true ensemble, or what was often called a "spiritual theatre company." It's not a concept for everyone. Nor should it be. The ethics and discipline and commitment required to see such an idea through are intense and extensive. Stanislavsky, an extremely wealthy man, and wise, and dedicated, and eventually famous, working in a time and place that was mostly supportive (pre-revolution), had trouble making it all work. But there were then and there are still, those shining moments when it all comes together as such.
Stanislavsky had the crown jewel of this in the First Studio of the Moscow Art Theatre, a group of young actors and directors that included Michael Chekhov, Evgeny Vakhtangov, Richard Boleslavsky, Maria Ouspenskaya, Serafima Birman, and others. Led by Leopold Sulerzhitsky, this group, with their wildly imaginative productions of plays by Dicken's, Hauptmann, and Shakespeare set the standards for preparation, training and production - and gave rise to ensemble and spiritual theatre.
We have several direct ties to this group (and a second group that became known appropriately as the Second Studio of the Moscow Art Theatre) here in Tucson. For example, the well known, well loved, and very, very dear Roberta Striker was a student of Tamara Daykarhanova. Madam Daykarhanova at times taught alongside Vera Soloviova and her husband Andrius Jilinsky here in the United States after they had all immigrated here. (See Jilinsky's "The Joy of Acting" for a gem of a book). Roberta has exceptional talent all her own of course, but you see in her acting and her teaching, that same kind of heart and beauty and soul (for lack of a better word) that seems to be present in so many people from this tradition. A couple of years ago Roberta graciously sat down with Bill Killian, myself, and Esther Blue (a former student of Roberta's) and told us her story of working with Madam Daykarhanova and allowed us to videotape her. I remember vividly her explanations of "the heart." Someday, we will all get together and watch it. For those who remember the late Lester Netsky, he worked with Jilinsky and Soloviova as a member of the American Actors Company. Horton Foote was part of this group as a young actor himself. Lester and his wife attended one of the rehearsals once of a Tucson Art Theatre production (one of our good ones luckily) and after sitting quietly for a while afterwards, asked me very seriously "where did you learn all this?" But mostly I remember the absolute dignity and respect and charm with which he conducted himself and offered to our company at that time. Later I spent a couple of wonderful evenings at the Netsky's home, under their considerable hospitality, looking over old pictures, listening to stories and asking as many questions as I could manage. There are others here in town with one, two or maybe three degrees of seperation from this group, this tradition and someday I'll write about them. Bill Killian is due a lot of credit for actively searching some of these connections for us. And now of course we blessed to have Phil here in Tucson. Phil's direct connection to Stanislavsky comes through Sonia Moore, a later student of Stanislavsky's. Phil has shook the hand that shook the hand. I like that! I shake Phil's had every chance I get now!
Perhaps the point I am trying to make in all this, besides noting each of these people's talent and contributions, is the very manner in which they approach their art. They are, or were, as far as I know them, concerned with expressing something deeply profound and beautiful. And they carry(ied) themselves into the theatre with passion and wisdom, exuding respect, never slovenly or tired, greatly appreciative of their tradition, their teachers, their fellow actors and workers.
One of the many famous stories in the annuls of Stanislavsky is when it was explained to him one time that a particular theatre company had set itself the task to do good theatre (think professional, or highest standards, etc). Stanislavsky asked "good for what?" And went on to say that no one ever sets out to do bad theatre, everyone sets out to do good theatre. But good for what? How? And why? Eugenio Barba of Odin Teatret, my other favorite director, says all actors must at some point in time decide why they want to act, where they will act, and who they will act for. Stanislavsky set himself the task of "Spiritual Theatre" or sometimes he said "To Reveal the Life of the Human Spirit." While it sounds elusive, Stanislavsky's actual work and advice and reasoning on this is profoundly practical and down to earth. I can think of Cindy Meier, of Rogue Theatre, articulating to herself and to others a few years ago her ideas for life and for the kind of theatre she wanted to create. Fast forward to today as Rogue moves into its new space and announces a new season. Not just good, or professional, but with specific intent, a kind of theatre with a specific purpose. The Manifesto on their website, theroguetheatre.org, is a what, where, why, how and for whom guiding document. As a spectator at Rogue, I always have this reference available in my mind. It is not necessary for me to have this knowledge in order to enjoy one of their shows in the moment, but upon reflection, it gives me a perspective, a context, and perhaps an insight which allows me to deepen my appreciation and understanding of a particular work or body of work of theirs.
I don't know if Phil will have the time, desire or opportunity here in Tucson to work towards a Spiritual Theatre. This is a man used to six months of rehearsal for example. That is six months with lines and staging learned mind you. I know many people have trouble wrapping their mind around this - what do you do for six months, five or six days a week, in rehearsal? (You could be pleasantly surprised if you haven't experienced creative rehearsals over this amount of time). But anyway, however it shapes up for Phil, I believe we are lucky and happy as a community to have him here with us now.
No comments:
Post a Comment