Hundred days nytw4/14/2023 In the series of dreams that follow, Cornélia is visited by traditional Indian artists, Taliban inquisitors, a pair of rambunctious monkeys, William Shakespeare, King Lear and daughter Cordelia, Anton Chekhov and a white cow as she anguishes over creating meaningful art in a world ravaged by violence and – also not coincidentally – patriarchy. It’s up to poor, unqualified Cornélia to come up with a new show. The company director is calling to say that a terrorist attack has left him feeling powerless and useless, and has quit. Fans hang from the billowing roof and circle lazily above a main living area with an office at stage right and bedroom at stage left, where we see a woman, Cornélia (Hélène Cinque) asleep until the phone rings in the office. We are seated stadium style, facing a wide-open room in Pondicherry, where a French theater troupe has settled in for a stop on tour. The Shakespeares were of such cinematic scale that they filled studio sound stages. The presentational disciplines embraced Japanese Kabuki and Noh, Indian Kathakali, and not incidentally, Italian commedia dell’arte, while the politics range from Moliere to Dario Fo. debut with her Asia-suffused productions of Twelfth Night, Henry IV, Part 1 and Richard II. Her father, the Russian-born French film magnate Alexandre Mnouchkine, produced Jean Cocteau’s Les parents terribles, Philippe de Broca’s Cartouche, Alain Resnais’ Stavisky, Bertrand Blier’s Get Out Your Handkerchiefs and Jean-Jacques Annaud’s The Name of the Rose, among others.Īnd if you’re of an age to remember the summer of 1984, when Los Angeles hosted the remarkable Olympics Arts Festival, his daughter’s name will rank high in the memory: Festival organizer (and, at the time CalArts chief) Bob Fitzpatrick arranged for Ariane Mnouchkine’s Paris-based Théâtre du Soleil to make its U.S. He would like you to know that, thanks to the relentless march of time, his headshot is about a decade old.Ariane Mnouchkine has spectacle, and exile, in her DNA. Here's a pretty cool thing about him from American Theatre Magazine. His design aesthetic tends toward spectacular minimalism and elegant, economical maximalism.Īndrew is currently in his ninth season as Producing Artistic Director of Know Theatre of Cincinnati, where he has also been resident scenic and lighting designer since 2007.Īs a playwright, his work has been seen in Cincinnati, Edinburgh, Los Angeles, and San Francisco.Īndrew's writing, directing, and performance experience round out an approach to design that aims to serve the theatrical experience as a whole. He believes that theatre cannot be afraid of embracing new technology, but that technology cannot take the place of good storytelling. He believes in building community through performance. And it must be committed to the highest standards of quality, no matter how small (or large) the venue and budget, while recognizing the humanity and capacity of the artists creating the work. He believes that, to stay relevant, theatre must create something for audiences that they cannot find elsewhere, that it must embrace the now of the experience, even if that experience is time shifted digitally. He also loves the challenge of generating a similar immediacy for audiences within much larger venues. Andrew is fascinated by the exploration of theatrical magic in intimate performance spaces, the creation of of other worlds for engaged audiences only a few feet away.
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