{"id":7516,"date":"2016-12-20T10:09:57","date_gmt":"2016-12-20T08:09:57","guid":{"rendered":"https:\/\/laregledujeu.org\/arrabal\/?p=7516"},"modified":"2016-12-29T15:01:21","modified_gmt":"2016-12-29T13:01:21","slug":"the-best-thing-he-has-done-in-years-antony-hopkins-laurence-olivier-garcia-and-arrabal","status":"publish","type":"post","link":"https:\/\/laregledujeu.org\/arrabal\/2016\/12\/20\/7516\/the-best-thing-he-has-done-in-years-antony-hopkins-laurence-olivier-garcia-and-arrabal\/","title":{"rendered":"\u00ab\u00a0The best thing he has done in years\u00a0\u00bb : Anthony Hopkins, Laurence Olivier and Arrabal"},"content":{"rendered":"

Stage Managing CHAOS<\/strong> (2016\/17) : A Diary of the Old Vic Production of Fernando Arrabal’s<\/strong> the Architect and the Emperor of Assyria
\nANTONY HOPKINS , SIR LAURENCE OLIVIER , VICTOR GARCIA and\u00a0 FERNANDO ARRABAL<\/p>\n

In the early 1970s London’s National Theatre, led by Sir Laurence Olivier, launched an infamous avant garde production of The Architect and the Emperor of Assyria<\/em>. Concerned that his classical approach would clash with the enfant terrible director, Victor Garcia, Olivier enlisted stage manager Jackie Harvey to keep a diary of the often ludicrous, occasionally creative, always challenging rehearsals. Anthony Hopkins and Jim Dale costarred in the surreal two-man piece. Led by the eccentric Garcia, the play quickly descended into a chaotic and \u00ab\u00a0xenius\u00a0\u00bb theatre. Missed deadlines, technical hitches, unauthorized…<\/p>\n

\n

THE ARCHITECT AND THE \u00a0EMPEROR\u00a0 OF ASSYRIA by Fernando Arrabal.<\/strong><\/p>\n

By CLIVE BARNES (The New York Times)<\/strong><\/p>\n

\u00ab\u00a0The<\/strong> best thing he has done in years\u00a0\u00bb<\/strong><\/p>\n

Presumably, even critics develop. When I first saw Fernando Arrabal\u2019s play \u201cThe Architect and the Emperor of\u00a0Assyria\u201d at Britain: National Theater. I was modesty somewhat unimpressed.<\/p>\n

I did not really understand it -perhaps simply because\u00a0all critics are slightly behind\u00a0their times. It is not so much an occupational hazard as an occupational disease, and should be recognized as such and treated kindly. We do our best. On Friday night at the La\u00a0 Mama Annex on East Fourth Street, the Nelly Vivas Company gave the Arrabal play its New York premiere, and<\/p>\n

I was overwhelmed. It was a great theatrical experience. <\/strong><\/p>\n

A play about relationships that\u00a0genuinely related. Now the simple explanation in such circumstances is to say that the second staging was so much better. But I suspect it wasn’t. The National Theater production was staged by the brilliant South American director Victor Garc\u00eda and it starred Jim Dale and Anthony Hopkins.<\/strong><\/p>\n

No care had been spared.<\/p>\n

But for me it didn’t really work \u00a0-I was interested but totally puzzled. Now at La MamaTom O ‘Horgan has staged it -it is the<\/p>\n

best thing he has done in years<\/strong> -in a very different fashion, and I found it most\u00a0beautiful and interesting.<\/p>\n

The play is concerned with two people living together, and the games they play, the roles they assume the gestures they make. It has the fantasy of the poetically sane.<\/p>\n

There are two people: One is the Architect and the other is the Emperor -it might be thought that they symbolize special aspects of life.\u00a0 But that would not be quite true. Mr. Arrabal is more subtle than that. Indeed, just as all dreams and all fantasies that\u00a0 one has emerge from the single psyche, so indeed both of these men, arguing, accusing,condemning, fighting, lovingand losing, could indeed be a representation of one person.<\/p>\n

On one all too human soul in conflict. But probably not. There does seem to be an dialogue here, and a dialogue not between the contradictory forces of human nature, but a dialogue between two people missing out in love.<\/p>\n

They embrace, they devour, they die It is the texture of the play that is so fascinating and important. It has layers to it. At one time you think you are seeing this, at another time you are confident you are seeing that. If the art of poetry is ambiguity raised to level of either dreams or nightmares -and. by the way,it is- then this play is almost impossibly poetic.<\/p>\n

The language floats, jumps and sparkles. It has been translated by Everard d’Harnoncourt and Adele Shank.and quite obviously they havedone a fine job. There is adazzling madness of wordsscattered across the airy<\/p>\n

like<\/strong> diamante stars.<\/strong><\/p>\n

The play is a confrontation.It takes place on an island. Two people confined and in conflict and in love. The Architect and the Emperor -the two symbols, perhaps, of the human conditionon its creative level. Or, perhaps, the way we all, all of us, are -the titles themselves carry their own message. But interestingly Mr. Arrabal permits the two of them -these two aspects of personality- continually to switch roles.He is saying that in all of us there: is an Architect someone who needs to build and control, and an Emperor who needs to reign.<\/p>\n

The concept is interesting, of course,but what makes it compelling is Mr. Arrabal\u2019s brilliant use of it. The man dreams in the images of reality. He reminds me of another Spanish artist. Goya-and the Caprichos sketches- the \u00ab\u00a0dream,\u00a0\u00bb as Goya put it, \u201cof reason produces monsters.\u00a0\u00bb<\/p>\n

Mr. Arrabal is severely anticlerical -his attacks on the church are bloody and unbound -but he may even be severely antihuman. One has a sense -a feel you have for another satirist such as Jonathan Swift- that he has looked at us carefully , perhaps, at least hopefully, but too carefully, and found us disappointing.<\/p>\n

 <\/p>\n

The play does play God but it plays it very convincingly.<\/p>\n

One reason of course is Mr. O\u2018Horgan’s elegantly inventive production, which stages the play with precisely the explosive exposition that its statement demands, and also the acting. There are two alternative casts. On the night the roles were taken with love and care by Lazaro P\u00e9rez as the Archi- tact and Ronald Perlman as the Emperor. They were brilliant in evening of dizzy revelation.<\/p>\n

 <\/p>\n

Mr. Arrabal with his perceptions, absurdities, and understanding is<\/p>\n

a playwright to be honored, treasured<\/strong><\/p>\n

and understood. In this play he is saying something about the isolation, the solitariness and the need of man that, so far, as I can, see, no other playwright has quite gotten on stage before. A playwright reveals, himself when in the electric instant of the moment he tells us the story of our lives.<\/p>\n

Mr. Arrabal does that with the grace of the fantastic and the gaucheness of the real.<\/p>\n

\u00a0<\/strong>\u00a0<\/strong><\/p>\n

\u00a0The New York Times. \u00a0\u00a0<\/strong><\/p>\n

Drama: los Hombres de Arrabal.<\/p>\n

\u00ab\u00a0The Architect and de Emperor\u00a0\u00bb centelleantes.<\/p>\n

Por CLIVE BARNES (traducci\u00f3n de Lelia Fischer)<\/p>\n

\u00ab\u00a0…ning\u00fan otro dramaturgo ha logrado antes \u00a0presentar \u00a0en\u00a0 las tablas\u2026\u00a0\u00bb<\/p>\n

Probablemente incluso la critica \u00a0hace progresos. Cuando vi por primera vez la pieza de Arrabal en el Britain National Theater qued\u00e9 moderadamente impresionado. No la comprend\u00ed realmente- quiz\u00e1 tan solo porque todos los cr\u00edticos \u00a0suelen tener \u00a0un leve \u00a0retraso con relaci\u00f3n a su \u00e9poca. No se trata \u00a0tanto de un riesgo profesional como de una enfermedad profesional que tendr\u00eda que ser identificada como tal \u00a0y, \u00a0por eso, \u00a0deber\u00eda ser considerada con indulgencia. Actuamos lo mejor que podemos .<\/p>\n

La noche del viernes \u00a0en La Mama Annex en la \u00a0East Four Street (en la calle cuatro) la compa\u00f1\u00eda de Nelly Vivas present\u00f3 el estreno de la obra de Arrabal y \u00a0qued\u00e9 sumergido. Fue una gran experiencia teatral. Una obra que trata de las relaciones familiares \u00a0que realmente relacionaba.<\/p>\n

Ahora bien la explicaci\u00f3n sencilla en tales circunstancias consiste en decir que la segunda direcci\u00f3n era mucho mejor. Pero sospecho que no era tal. El montaje en el National Theater fue dirigido por el brillante director sudamericano V\u00edctor Garc\u00eda y \u00a0los protagonistas fueron Jim Dale y Anthony Hopkins. Literalmente : pusieron toda la carne en el asador. Pero para mi algo realmente no funcion\u00f3.-me interesaban pero estaba \u00a0totalmente desconcertado<\/p>\n

Ahora \u00a0bien \u00a0en la Mama es Tom O’Horgan \u00a0quien la ha dirigido -y es\u00a0lo mejor que ha hecho desde hace a\u00f1os -de una manera muy distinta y me pareci\u00f3 m\u00e1s hermoso e interesante.<\/p>\n

La obra trata de dos personas que viven juntas y de \u00a0los juegos con que se divierten, \u00a0los papeles que desempe\u00f1an , de su modo de actuar. Era la fantas\u00eda \u00a0de lo po\u00e9ticamente fenomenal<\/p>\n

Hay dos personas: Una es el Arquitecto y la otra el Emperador – podr\u00edamos imaginar que simbolizan particulares aspectos de la realidad. Pero no ser\u00eda \u00a0del todo \u00a0cierto. El Se\u00f1or Arrabal es mucho mas sutil que eso. En realidad, exactamente como \u00a0todos los sue\u00f1os y fantas\u00edas que tenemos surgen de una \u00fanica psique, igualmente estos dos hombres que discuten, acusan, condenan , combaten, aman y pierden podr\u00edan realmente representar (a) una \u00fanica persona. En una toda el alma y sus conflictos. Pero probablemente no. Aqu\u00ed parece que se trate de un dialogo, y un dialogo no entre las fuerzas contradictorias \u00a0de la naturaleza humana, sino un dialogo entre dos personas carentes de amor. \u00a0Se abrazan, se devoran, y mueren.<\/p>\n

Es la trama (textura) de la obra la que es tan hechizadora e importante. Hay diferentes grados en ella. A veces crees que estas viendo tal cosa, en otro momento estas seguro de que estas viendo otra. Si el arte de la poes\u00eda es la ambig\u00fcedad elevada al nivel de sue\u00f1os o pesadillas – y, dicho sea de paso, este es el caso- entonces esta obra es casi imposiblemente po\u00e9tica.<\/p>\n

El lenguaje flota, salta y centellea. Ha sido traducido por Everard d’Harnoncourt y Ad\u00e8le Shanks y con toda evidencia han hecho un excelente trabajo. Hay una \u00a0deslumbrante locura de palabras cruzando lo et\u00e9reo :\u00a0 como estrellas de diamantes.<\/p>\n

La pieza es una confrontaci\u00f3n. Se desarrolla en una isla. Dos personas confinadas y con conflictos y amor. El Arquitecto y el Emperador -quiz\u00e1 los dos s\u00edmbolos de la condici\u00f3n humana \u00a0a\u00a0su nivel creador. O, quiz\u00e1 el modo en que todos, todos \u00a0 nosotros somos -los t\u00edtulos, en s\u00ed mismos\u00a0 llevan su propio mensaje. Pero de un modo interesante el Se\u00f1or Arrabal permite a los dos -estos dos aspectos de la realidad- \u00a0 constantemente intercambiando sus papeles. Est\u00e1 dici\u00e9ndonos que en todos nosotros hay una arquitecto, alguien que necesita construir y controlar, y un emperador que necesita reinar. La idea es \u00a0interesante, naturalmente, pero lo que la hace irresistible es la brillante manera con que \u00a0la emplea \u00a0 el Se\u00f1or\u00a0 Arrabal . El hombre sue\u00f1a con las im\u00e1genes de la realidad. Me recuerda a otro artista espa\u00f1ol: Goya y sus estampas, sus \u00a0Caprichos- \u00a0el \u00ab\u00a0sue\u00f1o\u00a0\u00bb seg\u00fan Goya \u00ab\u00a0de la raz\u00f3n engendra monstruos\u00a0\u00bb.<\/p>\n

El Se\u00f1or Arrabal es tremendamente \u00a0anticlerical -sus ataques a la Iglesia son sangrientas y desencadenadas -pero pueden ser incluso tremendamente antihumanas . Uno tiene la misma sensaci\u00f3n – que se tienes con \u00a0otro \u00ab\u00a0autor sat\u00edrico\u00a0\u00bb como \u00a0Jonathan Swift- que \u00a0nos ha mirado cuidadosamente, quiz\u00e1, al fin y al cabo con esperanza, pero con excesivo cuidado, cuando le decepcionamos.<\/p>\n

La obra juega verdaderamente a ser Dios pero juega de una forma convincente. naturalmente uno de los motivos es el montaje elegantemente inventivo del sr O’Horgan que dirige la obra\u00a0 con precisamente la explosiva exposici\u00f3n que requiere su plasmaci\u00f3n, y tambi\u00e9n el trabajo de los actores. Hay dos elencos alternativos . Esa noche los papeles los desempe\u00f1aban con amor y cuidado L\u00e1zaro P\u00e9rez: el Arquitecto y Ronald Perelman el Emperador. Fueron \u00a0se lucieron en una noche \u00a0de vertiginosa revelaci\u00f3n.<\/p>\n

El Se\u00f1or Arrabal con sus percepciones, absurdos y comprensi\u00f3n es\u00a0 un dramaturgo \u00a0 que debe ser honrado, \u00a0y atesorado, y entendido. En esta obra esta diciendo algo sobre \u00a0el aislamiento, la soledad y lo que necesita el hombre que, tan lejos como puedo distinguir, ning\u00fan otro dramaturgo ha logrado antes \u00a0presentar \u00a0en\u00a0 las tablas. Un dramaturgo se revela cuando en \u00a0el el\u00e9ctrico instante del momento nos cuenta la historia de nuestras vidas . Esto hace el Sr Arrabal con la gracia de lo fant\u00e1stico y la torpeza de lo real.<\/p>\n

The Cast<\/strong><\/p>\n

THE ARCHITECT AND THE \u00a0EMPEROR<\/p>\n

OF ASSYRIA by Fernando Arrabal.<\/p>\n

Directed by Tom O Horgan;<\/p>\n

settings by Bill Stablie;<\/p>\n

lighting by Cheryl Thacker;<\/p>\n

costumes by Joseph Aulisi.<\/p>\n

Written in l965 translated<\/p>\n

by Everard\u00a0d’Harmoncourt and Adele Shank.<\/p>\n

Production coordinator, Nelly Vivas.<\/p>\n

Production Stage\u00a0managers, Marc Cohen.<\/p>\n

Galan Mc Kinley.<\/p>\n

La Mama Annex\u00a0presents Nelly Vivas Company.<\/p>\n

At La Mama Annex, 66 East Fourth \u00a0Street<\/p>\n

The Architect……..\u2026\u2026\u2026\u2026\u2026…..Lazaro Perez<\/p>\n

The Emperor.\u2026\u2026\u2026\u2026\u2026\u2026\u2026.Ronald Perlman<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Quand le London’s National Theatre de Laurence Olivier a mis en sc\u00e8ne la pi\u00e8ce de Fernando Arrabal, ce fut une onde de choc, racont\u00e9e dans le New York Times.<\/p>\n","protected":false},"author":6,"featured_media":7517,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[784,35811,428,72097],"class_list":["post-7516","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-miscellannees","tag-pataphysique","tag-arrabalesque","tag-dramaturge","tag-laurence-olivier"],"yoast_head":"\n"The best thing he has done in years" : Anthony Hopkins, Laurence Olivier and Arrabal - Ceci n\u2019est pas un blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laregledujeu.org\/arrabal\/2016\/12\/20\/7516\/the-best-thing-he-has-done-in-years-antony-hopkins-laurence-olivier-garcia-and-arrabal\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""The best thing he has done in years" : Anthony Hopkins, Laurence Olivier and Arrabal - 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