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Unbalancing Acts: Foundations for a Theater
 
 
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Unbalancing Acts: Foundations for a Theater [Paperback]

Richard Foreman (Author), Peter Sellars (Foreword)
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Book Description

September 1, 1993

Includes essays and playscripts: The Cure, Film Is Evil: Radio Is Good, Symphony of Rats, What Did He See? and Lava. Foreword by Peter Sellars


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Editorial Reviews

About the Author

Richard Foreman founded the Ontological-Hysteric theatre in 1968. The theatre is currently in the historic St. Marks Church, where he rehearses and produced one of his new plays each year, each play performing for 16 weeks every winter.

Product Details

  • Paperback: 368 pages
  • Publisher: Theatre Communications Group (September 1, 1993)
  • Language: English
  • ISBN-10: 1559360763
  • ISBN-13: 978-1559360760
  • Product Dimensions: 8.2 x 5.5 x 1.1 inches
  • Shipping Weight: 15.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #702,579 in Books (See Top 100 in Books)

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11 of 11 people found the following review helpful:
4.0 out of 5 stars Foundation for a new theatre, June 19, 2001
By 
Algernon D'Ammassa (Los Angeles, CA United States) - See all my reviews
(REAL NAME)   
This review is from: Unbalancing Acts: Foundations for a Theater (Paperback)
The opening essay, "Foundations For A Theatre," is the clearest and most linear statement to date of Richard Foreman's work, which re-considers the entire process of making theatre (from the formulation of a script to rehearsal to performance) and what kind of experience an evening of theatre may convey.

No one is creating theatre like Richard Foreman, whose associative (and sometimes dissociative) writing process contrives to capture a truthful portrait of his own perception at work. In rehearsal, Foreman creates an environment rebelling against any mimetic presentation of everyday reality, which is a kind of shared dream. He uses every theatrical element at his disposal to surprise and dazzle the spectator, and bring awareness to our radical impulses before our intellects "understand" them (and change them into something else).

Although his project sounds very cerebral, his theatre is very much about the senses, and his art grabs you on a gut level.

The book includes several plays, though it might have been helpful to include a script without the production stage directions to help understand the way he generates a script. (A later book, MY HEAD WAS A SLEDGEHAMMER, does include this and it helps a great deal.) Also, more photographs and illustrations would support his essay on visual design and use of space.

This artist is way ahead of his time, using theatre to address the process of perception itself rather than narrative thinking. The importance of this book, addressing this work to a general reader, may not be appreciated for quite some time.

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Inside This Book (learn more)
First Sentence:
My theater has always tried to spotlight the most elusive aspects of the experience of being human. Read the first page
Key Phrases - Capitalized Phrases (CAPs): (learn more)
Radio Rick, Radio Richard, Miss Merriweather, Kate Manheim, President of the United States, Miss Universal Happiness, Estelle Merriweather, New York, Public Theater, Richard Foreman, Wooster Group, David Patrick Kelly, Hotel China, Joe Jones, Nobel Prize, Paradise Drive, Penguin Touquet, Performing Garage, Ron Vawter, Will Patton, Babette Mangolte, Gertrude Stein, Martha Swope, Rocco Sisto, Alfred North Whitehead
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