filmov
tv
WOYZECK Trailer (2012)
Показать описание
WOYZECK
Directed by Mark Jackson
Musical Direction Dave Möschler
Music & Lyrics Tom Waits and Kathleen Brennan
Adapted from the Georg Büchner play by Ann-Christin Rommen, Wolfgang Wiens, and Robert Wilson.
Performed by Andy Alabran, Madeline HD Brown, Kevin Clarke, Alexander Crowther, Joe Estlack, Anthony Nemirovsky, Kenny Toll, and Beth Wilmurt.
Scenery Nina Ball. Costumes Christine Crook. Lights Clyde Sheets. Sound Teddy Hulsker. Props Shannon Walsh.
Produced by The Shotgun Players, Berkeley, CA, in 2012.
Written by Büchner in 1836 and famously left unfinished by his death, WOYZECK has become a modern classic since its 1913 stage debut in Munich. The various productions I saw over the years never made clear to me just why so many people feel a need to grapple with Büchner’s jarring shard. The play is almost invariably interpreted with a seemingly habitual, one-note, for me anti-dramatic bleakness, often with a testosterone-fueled “craziness” to liven things up. It wasn’t until I heard the play filtered through Tom Waits and Kathleen Brennan’s junkyard musical sensibility that I understood the beating heart of the piece. And although Robert Wilson's dramaturgical conception of the text has been accused of being "WOYZECK-lite," I rather found it to be direct, potent, and startling. Waits and Brennan's music fills this conception out, bringing to the play such clear-eyed compassion for anyone whose circumstances have found them blown overboard and questioning whether or not to wait on God, the Devil, or The Man for a hand up.
PRESS:
“Tom Waits and Kathleen Brennan's sensuous melodies and sardonic lyrics envelop the fractured shards of Georg Büchner's unfinished script to create riveting theater in the WOYZECK that opened Friday at Shotgun Players' Ashby Stage. Director Mark Jackson blends their talents with those of his company to deliver one of the most exciting productions of the year. This is a WOYZECK that's as emotionally compelling as it is intellectually stimulating and mordantly comic, which is a major achievement. …The show's impact also derives from how well the director builds on the genius of his predecessors. …As seductive as it is potently immediate.” – San Francisco Chronicle
“Jackson has always had a way with the avant-garde impulse. He brings electrifying intensity to this groundbreaking drama, a play seminal enough to shape everyone from Brecht to Beckett… Jackson also gilds the piece with wit, which helps make the play's grim themes tartly comic as well as disturbing… From start to finish, Jackson nails the jarring tone of the piece, its unsettling theatricality punctuated by the lure of circus music… We may never know how Büchner intended to fit all the shards of this haunting narrative together. But it's hard to imagine a WOYZECK more darkly hypnotic than this one.” – San Jose Mercury News
Directed by Mark Jackson
Musical Direction Dave Möschler
Music & Lyrics Tom Waits and Kathleen Brennan
Adapted from the Georg Büchner play by Ann-Christin Rommen, Wolfgang Wiens, and Robert Wilson.
Performed by Andy Alabran, Madeline HD Brown, Kevin Clarke, Alexander Crowther, Joe Estlack, Anthony Nemirovsky, Kenny Toll, and Beth Wilmurt.
Scenery Nina Ball. Costumes Christine Crook. Lights Clyde Sheets. Sound Teddy Hulsker. Props Shannon Walsh.
Produced by The Shotgun Players, Berkeley, CA, in 2012.
Written by Büchner in 1836 and famously left unfinished by his death, WOYZECK has become a modern classic since its 1913 stage debut in Munich. The various productions I saw over the years never made clear to me just why so many people feel a need to grapple with Büchner’s jarring shard. The play is almost invariably interpreted with a seemingly habitual, one-note, for me anti-dramatic bleakness, often with a testosterone-fueled “craziness” to liven things up. It wasn’t until I heard the play filtered through Tom Waits and Kathleen Brennan’s junkyard musical sensibility that I understood the beating heart of the piece. And although Robert Wilson's dramaturgical conception of the text has been accused of being "WOYZECK-lite," I rather found it to be direct, potent, and startling. Waits and Brennan's music fills this conception out, bringing to the play such clear-eyed compassion for anyone whose circumstances have found them blown overboard and questioning whether or not to wait on God, the Devil, or The Man for a hand up.
PRESS:
“Tom Waits and Kathleen Brennan's sensuous melodies and sardonic lyrics envelop the fractured shards of Georg Büchner's unfinished script to create riveting theater in the WOYZECK that opened Friday at Shotgun Players' Ashby Stage. Director Mark Jackson blends their talents with those of his company to deliver one of the most exciting productions of the year. This is a WOYZECK that's as emotionally compelling as it is intellectually stimulating and mordantly comic, which is a major achievement. …The show's impact also derives from how well the director builds on the genius of his predecessors. …As seductive as it is potently immediate.” – San Francisco Chronicle
“Jackson has always had a way with the avant-garde impulse. He brings electrifying intensity to this groundbreaking drama, a play seminal enough to shape everyone from Brecht to Beckett… Jackson also gilds the piece with wit, which helps make the play's grim themes tartly comic as well as disturbing… From start to finish, Jackson nails the jarring tone of the piece, its unsettling theatricality punctuated by the lure of circus music… We may never know how Büchner intended to fit all the shards of this haunting narrative together. But it's hard to imagine a WOYZECK more darkly hypnotic than this one.” – San Jose Mercury News
0:02:00
0:01:00
0:02:17
0:01:48
0:00:39
0:02:11
0:01:07
0:00:39
0:00:45
0:01:05
0:09:09
0:00:43
0:02:10
0:01:10
0:00:32
0:00:23
0:00:50
0:03:08
0:02:12
0:00:09
0:02:00
0:01:43
0:01:05
0:04:49