Submitted by Ellen Lauren on September 5, 2014 - 8:24pm
Impressions of a (Press) Opening
Persians-Getty Villa Sept 3, 2014
God knows we wondered over the weeks of rehearsal if this could really be done. Reading and studying 3 different plays over a year and half ago, we looked at each other and thought-IF we choose this one, how the Hell are we going to do this?But that very same sentiment is why, in part, we faced it, chose it-Persians.
Submitted by Ellen Lauren on August 24, 2014 - 9:26pm
It is the last day of the fifth week for rehearsals of Persians. Its now that we start to recognize that we could be the fifth Month, and only have just begun to plumb the depths of this magnificent text.
I’m writing this on Sunday. It’s the luxury that leading on Saturday gives you. A day to marinate in what happened.
Submitted by Ellen Lauren on July 28, 2014 - 10:31pm
There is something of the divine, its like touching into something of the divine working at the Getty Villa. For an actor at least. And so making an ancient play is an evocation of sorts. The tasks are no longer pouring honey and oil in libation to contact the powers over heaven and earth. Our tasks rather take the form of simpler things, practical, necessary. But they are to evoke the things that have power over our world nonetheless. Our imaginations.
Submitted by Ellen Lauren on July 3, 2014 - 4:00pm
Here is a link to Notes for a Voyage. I recorded the voice over for this while in Saratoga this summer for the Martha Graham Dance Company. Peter Sparling, the director, approached me on a recommendation from the MGCo. members. It was a bit of a quick and dirty recording, the concert was to be in 2 days. I have to say, this was such an honor, as the dancers featured, Blakely, Tadej, Ben and Loyd, are some of the most spectacular dancers in this country if not the world today.
Submitted by Ellen Lauren on May 21, 2013 - 2:54am
An early morning after reading the Persians last night. The fog and clouds giving way to a pure light that etches everything with such clarity. The beauty is almost too much, overwhelming to the senses and the soul. A morning drive up into the canyon and down to the Pacific, which is now a color we haven’t seen before.
After the formality, archaic structure and rigor of Aeschylus’ language, we give over today to the wild, unnerving energy of Euripides’ The Bacchae. One has been read at night, sombre and strange. The other will be read midday, while this light outside shines on the white marble, glitters the fountains and herbs, spins the birds into the air.
Submitted by Ellen Lauren on May 18, 2013 - 11:56am
I’VEBEENHAVING A DIFFICULTTIMESITTING still to write about stillness.
What does the study and practice of stillness entail for the theatre artist? Perhaps my difficulty is an illustration of how elusive this knowledge remains, and how potent it is, once harnessed, in an unsettled world. Perhaps the difficulty lies in the fact that this subject, stillness, is at the root of all the essential values I hold in the making, teaching and study of the art of theatre. To achieve stillness as part of one’s expressive abilities requires training. In my case, the foundation of my practice and teaching has been the Suzuki Method of Actor Training. Created by Tadashi Suzuki and his remarkable Suzuki Company of Toga (SCOT), the work is widely known for its exact and rigorous physical vocabulary that gives the actor insights into basic issues of control.