{theatre} – Page 40 – { feuilleton }

Sword on the rocks

More unclothed men with swords and another vintage example, shamelessly swiped from Planet Fabulon.

And while we’re on the subject of men, the Kangaroo Court Theatre Company has another new adaptation of The Picture of Dorian Gray (Matthew Bourne’s dance version is still touring) opening this week at the Tabard Theatre, London.

A daring musical adaptation transports Oscar Wilde’s masterpiece into our own celebrity-obsessed, gossip-driven times – complete with shallow pop stars, sex-crazed artists and sleazy journalists. Co-produced with Kangaroo Court Theatre Company, this new adaptation of Dorian Gray updates the story incorporating new technology and an original musical score.

The company’s site has a few more details. The way they’re using the picture below to promote the work I think we can guess the audience they’re going for.

Elsewhere on { feuilleton }
• The men with swords archive

Previously on { feuilleton }
• Matthew Bourne’s Dorian Gray
• John Osborne’s Dorian Gray
• Dorian Gray revisited
• The Picture of Dorian Gray I & II

Joe Orton memorialised

Joe Orton memorialised
| “Orton Square” announced in Leicester.

Buchinger’s Boot Marionettes

Buchinger’s Boot Marionettes was founded in 2004 by Patrick Sims, Mafalda da Camara and Richard Penny. This pair of grotesques are from a show entitled The Vestibular Folds, described as “a tale about the engraving and destruction of a metaphysical gramophone record”. There is more…

Previously on { feuilleton }
• Jan Svankmajer: The Complete Short Films

Dark horses

A juxtaposition of old and new theatre posters in the New York Times caught my eye this week, part of a feature about the current Broadway run of Peter Shaffer’s play. The news there, of course, has been Daniel Radcliffe’s on-stage nudity; understandable, perhaps, but celebrity trivia has overshadowed appraisal of Shaffer’s work as a piece of art.

What struck me seeing these was the two very different approaches to the same design problem. Given the subject matter, using an image of a horse is somewhat unavoidable as well as being immediately attractive since horses nearly always look good. The freight of historical and cultural association they carry is also one of the themes of the play. I really like the spare treatment of Gilbert Lesser’s 1976 poster for the National Theatre (left) and much prefer it to the new version used for the London and New York shows. The Lesser poster has the quality of a puzzle, matching the psychological piecing together of the story and Alan Strang’s accusation that Dysart the psychiatrist is always “playing games”. It also has a sinister quality lacking in the contemporary version; Shaffer’s Equus is an unforgiving god and the black eyes could refer to the blinded horses. The Photoshop horse looks altogether too mundane and is it my imagination or is the horse head misshapen slightly in order to fit the torso?

Continue reading “Dark horses”

The art of Pierre Clayette, 1930–2005

The Library of Babel (no date).

Another French artist who specialised in fantastic architecture, Pierre Clayette’s work came to my attention via the picture above which illustrates a Borges story. This leads me to wonder once again what it is about French and Belgian artists which attracts them more than others to this type of imagery.

Whatever the reason, there isn’t a great deal of Clayette’s work online and biographical details are few. This page (the source of the untitled picture above) reveals that he worked as an illustrator for Planète magazine, the journal of “fantastic realism” founded by Jacques Bergier and Louis Pauwels in the early Sixties. Some readers may know that pair as the authors of a { feuilleton } cult volume, The Morning of the Magicians (1960), whose vertiginous blend of speculative and weird fiction, occultism and futurology Planète was intended to continue.

Clayette also worked as a theatre designer and book illustrator. Le Chateau (above) is an illustration from Songes de Pierres, a 1984 portfolio depicting scenes from Pierres by Roger Caillois. That writer has his own significant Borges connection, being responsible for introducing Borges’ work to France via his editorship of the UNESCO journal, Diogenes. (Pauwels and Bergier later published Borges in Planète.)

Finally, there’s a less extravagant Flickr collection of some Clayette covers for Penguin Shakespeare editions. All of which only scratches the surface of what was evidently a prolific career; I’ll look forward to more examples of his work coming to light.

Elsewhere on { feuilleton }
• The fantastic art archive
• The illustrators archive

Previously on { feuilleton }
• The art of Michiko Hoshino
• The art of Erik Desmazières
• The art of Gérard Trignac
• The Absolute Elsewhere