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Blogs by Ian Thal
Bread & Puppet Journal, 2005
12/29/2005 9:51:13 AM
As I have in previous years, I have kept a journal of my involvement with Bread & Puppet Theatre when they perform in Cambridge, MA. Thanks are in order towards John Bell, Trudi Cohen, Mary Curtin and most of all, Peter Schumann for their encouragement in this ongoing project of mine.
November 17, 2005:
Searching for instabilities in the stage floor, Peter Schumann practices dancing about in his stilts sans the long red and white striped "Great American" slacks. With only the long poles strapped to his legs, one can see the pure form of his dance steps without the flagging movements of Uncle Sam's pants. I watch him as I stretch out on the part of the floor used as an orchestra pit by the Second Line Social Aid and Pleasure Society Brass Band.
"Passion of the Correct Moment" is more like a dance concert than anything else I have done with Bread & Puppet. In a pre-show talk through, Peter stresses the formalism of the dance segments. He discourages what he calls “acting.” He explains that "mourning should be a simple movement of up and down, side to side, with open mouth." He demonstrates with his hands on his ears or pulling at his hair. "It is the international sign of mourning" And it is like the expressionistic images that appear in so many woodcuts from the Bread & Puppet Press.
Brother Blue and Ruth Hill arrive early to the evening’s show. Blue is one of the great American storytellers, and the elder statesman of Boston’s bohemia. Ruth is his wife of many decades, documentation, manager, and less flamboyant partner, dressed in a richly textured patchwork of blues, greens, and purples, she has a rye and dry sense of humor, that stands out in contrast to Blue’s exuberance. Blue praises Peter as "one of the world's greatest" Peter laughs and announces his willingness to accept “the Brother Blue Nobel Prize.”
After the show, Brother Blue confides in myself and Mary Curtin, the producer of the Cambridge run, a Bread & Puppet “geezer” and saxophonist with the Second Line Social Aid and Pleasure Society Brass Band that he regards Peter as "Beyond Genius” that his uniqueness is such that the world will not have another like him soon. That when Peter is gone there will be no more Bread & Puppet.
Mary agrees with him, "Peter is well aware that there is no one to follow him and take over. there will be the legacy-- the puppet museum-- but Bread & Puppet will end with him."
It's true. Anyone with an expansive enough vision to contain as much within themselves and take up all the elements as Peter does will need to create something of their own. Those who cannot, will only be able to imitate aspects of his vision and not the whole.
I agree to escort Ruth and Blue to the lobby and wait with them for their taxi. It’s no chore for me as I have always enjoyed my time in their company. Blue stresses my good fortune to spend time with him. I tell Blue that I've learnt a lot and Blue quizzes me on what lessons I have learnt. I tell Blue that from being around Peter, I've learnt how to direct an ensemble and present difficult material for the stage; I’ve learnt how better to use symbolism and allegory and the importance of simple forms.
Blue says "those are good answers"
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December 2005 Blogs
• Bread & Puppet Journal, 2005 - Thursday, December 29, 2005
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