Lorca’s play about the cruel beauty of passing time, written in 1935.
Set in 1900 Granada, Spain.
Below: Zaira Cervantez (the Aunt) in green, Arianna Gonzalez (Rosita) in pink.
Below: Lorca and his sister Isabella in 1914, when Federico was 16.
From a letter written when Lorca was 18:
Ahead I see many problems. many eyes which will imprison me, many difficulties in the battle between heart and head, and my emotional flowering wants to take possession of its sunlit garden and I make an effort to enjoy playing with the paper dolls and toys of my childhood, and sometimes I lie on my back on the floor and play comadricas with my baby sister (I adore her) . . . but the phantom that lives within us and which hates us pushes me forward. And we have to carry on because it’s our lot to grow old and die, but I don’t want to listen but, nevertheless, with each day that passes I have another doubt and another sadness.
is a game of imitating the neighbors’ gossip]
The aesthetic is announced in Act II:
AUNT. What did you drop?
HOUSEKEEPER. A thermometer case. Louis Quinze style.
AUNT. May I see it?
HOUSEKEEPER. For Rosita’s Saint’s day.
AUNT. It’s a precious thing.
HOUSEKEEPER, In the middle of the velvet there’s a fountain made out of real shells. Over the fountain there is a wire arbor with green roses. The water in the basin is a group of blue sequins and the stream of water is the thermometer itself. The puddles around are painted in oil and upon them a nightingale drinks, all embroidered in golden thread. I wanted it to have a spring and wind up and sing, but that could not be.
AUNT. That could not be
1994 notebook page below, preparation for a production in Samara, Russia. The theater caught on fire and the production was canceled.
Above, Señor X (Fernando Ramirez), the Housekeeper (Anna Ruth Despain)
Tennessee Williams’ late 1950s text about an artist coming to the end of his images.
South Africa’s 2016 National Arts Festival presents Marcel Meyer as The Man, Jennifer Steyn as The Woman, directed by David Kaplan in the Abrahamse-Meyer Production of THE DAY ON WHICH A MAN DIES from Cape Town, South Africa. Photos taken in performance by Ride Hamilton at the 10th Annual Tennessee Williams Theater Festival in Provincetown.
Tennessee’s letter to columnist Max Lerner during, and about, the
creation of SWEET BIRD OF YOUTH (1959), around the same time as DAY ON WHICH:
“ As an artist grows older he is almost always inclined to work in broader strokes. The delicate brush-work of his early canvasses no longer satisfies his demands of himself. He starts using the heavy brush, the scalpel and finally even
his fingers, his thumbs, and even, finally, a spray gun of primary colours. Act Two is written with that heavy brush, scalpel and spray-gun. Delicacy, allusiveness are thrown to the winds in writing, staging and performance.”
三個高女人 Edward Albee’s Pulitzer Prize-winning meditation on aging and identity at the Hong Kong Repertory Theater. Performed in Cantonese.
FROM THE PRESS RELEASE:
What do you think, sitting in the audience? Does a brash 26 year old know what life is? Does a self-possessed 52 year-old? Does a failing 92 year-old?
What do you feel, watching in the audience? Is life something to laugh about? To cry about? To cry about while laughing?
Is a son who runs away from home and comes back to be forgiven?
There are as many answers to these questions as there are people in the audience: sitting, watching, listening, thinking, feeling.
This Pulitzer award-winning modern classic, by renowned American playwright Edward Albee, lifts up three tall women – and their audience – on a journey of life and death. Following his distinctive The Eccentricities of a Nightingale, veteran director David Kaplan (大衞•卡柏倫) from the U.S. is invited to return to direct the current production.
The photo below was taken in performance. The room rose and rotated: the floor became the wall, so that the audience might consider the comatose body floating in consciousness.
To see more photographs from the production
Songs chosen by Tennessee WIlliams to be sung in his plays as counterpoint to his dialog.
Performed by Alison Fraser. Orchestrations by Alison Leyton-Brown. Photos by Ride Hamilton.
In a play written by Tennessee William, music is the sound of paradise drifting in from around the corner, across the alley, from the room next door, the promise of love and happiness just out of reach, leading us on to believe in the possibility of love and harmony somewhere, if not where we are, listening in circumstances far removed from love or happiness.