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Great Lengths

Seven Works of Marathon Theater

Jonathan Kalb

Publication Year: 2011

"Reading this book is certainly a vigorous experience. Kalb's sense of nuance, unpredictability, and the complexity of perception brings these productions to life. He is our surrogate, our scapegoat even, enduring the length of these productions so that he can convey the essence of their power." ---Stanton B. Garner, Jr., University of Tennessee "Jonathan Kalb takes us on a tour of monumental theater events, which flaunt the rules of economy, Aristotelian and otherwise. Kalb captures these unwieldy marathon productions by skillfully mixing personal experience and scholarly analysis. I read this engaging book in a single sitting---and came away ready to join the first theater marathon I could find." ---Martin Puchner, Harvard University "Jonathan Kalb's Great Lengths leaps to the head of any class in theatre history. Rich with critical perspective of 'marathon' works by Peter Brook, Tony Kushner, Robert Wilson, and others, and written with panache and lucidity, Kalb's book is filled with suspense as he describes and demystifies more than the post-modern and post-dramatic haunting recent theatre. This is history as present event, embracing the Greeks, Shakespeare, and even Charles Dickens." ---Gordon Rogoff, Yale University We know that size matters in many areas of human endeavor, but what about works of the imagination? Why do some dramatic creations extend to five hours or more, and how does their extreme length help them accomplish extraordinarily ambitious aims? In Great Lengths, theater critic and scholar Jonathan Kalb addresses these and other questions through a close look at seven internationally prominent theater productions, including Tony Kushner's Angels in America, Robert Wilson's Einstein on the Beach, and the Royal Shakespeare Company's Nicholas Nickleby. This is a book about extreme length, monumental scope, and intensive immersion in the theater in general, written by a passionate spectator reflecting on selected pinnacles of his theatergoing over thirty years. The book's examples, deliberately chosen for their diversity, range from adapted novels and epics, to dramatic chronicles with macrohistorical and macropolitical implications, to stagings of super-size classic plays, to "postdramatic" works that negotiate the border between life and art. Kalb reconstructs each of the works, re-creating the experience of seeing it while at the same time explaining how it maintained attention and interest over so many hours, and then expanding the scope to embrace a wider view and ask broader questions. The discussion of Nicholas Nickleby, for example, considers melodrama as a basic tool of theatrical communication, and the section on Peter Brook's The Mahabharata explores the ethical problems surrounding theatrical exoticism. The chapter on Einstein on the Beach grows into a reflection on the media-age status of the much-debated Gesamtkunstwerk (or "total artwork") and a reassessment of the long avant-gardist tradition of challenging the primacy of rational language in theater. The essay on Peter Stein's Faust I + II becomes a reflection on the interpretive role of theater directors and the theatrical viability of antitheatrical closet drama. Great Lengths thus offers a remarkable panorama of the surprisingly broad field of contemporary marathon theater---an art form that diverse audiences of savvy, screen-weaned spectators continue to seek out, for the increasingly rare experiences of awe, transcendence, and sustained immersion that it provides. Great Lengths will appeal to general readers as well as theater specialists. It situates the chosen productions in various historical and critical contexts and engages with the many lively scholarly debates that have swirled around them. At the same time, it uses the productions as springboards for wide-ranging reflections on the basic purpose and enduring power of theater in an attention-challenged, media-saturated era.

Published by: University of Michigan Press

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Chapter One: Introduction

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pp. 1-22

The idea for this book dates back to the summer of 2000. Sitting on a concrete bench at a world’s fair in Hanover, Germany, eating Asian-fusion fast food with some remarkably sociable Germans I had just met during one of the ten intermissions for Peter Stein’s twenty-one-hour...

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Chapter Two: Nicholas Nickleby

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pp. 23-44

It is often said that the early novels of Charles Dickens are fairy tales: childish fantasies where good and evil are instantly recognizable and unambiguous; bland, unmemorable cutout figure embodying pure innocence endure heartrending trials devised by only slightly more realistic villains; and happy endings are brought about by improbable good luck and...

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Chapter Three: The Mahabharata

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pp. 45-70

Exoticism is one of the subjects that my generation of graduate students was taught to be leery of. The category of the exotic, we were informed, was a na

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Chapter Four: Angels in America

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pp. 71-96

Americans, Tony Kushner once said, are “allergic to politics in the theater.”1 Many intrepid souls have cultivated political theater in the United States, but historically the genre has been more often thought of as an irritating weed than a crop that might nourish the public as part of a regular diet. Overtly political American dramatists have usually paid for their passion...

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Chapter Five: Einstein on the Beach

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pp. 97-123

It has long been fashionable to refer to the Broadway theater as the fabulous invalid—perpetually sick with a crippling illness that never kills it. Anyone with theatergoing experience not confined to the commercial, however, knows that the truly fabulous invalid for most of the past hundred years has been the avant-garde theater. Decade after decade from the 1890s...

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Chapter Six: Quizoola! and Speak Bitterness

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pp. 124-157

The avant-garde, if it can still be said to exist, has become a very large and diverse theatrical category. The term is slung about like a smiley-face emoticon in the information age (☺), a generic token of mild excitement that serves equally well to flatter narrative and nonnarrative performance, extravagant multimedia work and bare-stage purism, respectful adaptation...

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Chapter Seven: Faust I II

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pp. 158-188

With the exception of Angels in America, all of the marathon works this book has discussed up to now have been projects either initiated by directors or created by ensemble companies guided by strong directorial hands. This fact has not seemed worth remarking on because, in our time, we take the leadership of directors for granted. Directors run most of our...

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Chapter Eight: Conclusion

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pp. 189-192

Like most sane people, I live in a world of diminished horizons, and have lived there since the end of childhood. I learned then (and appropriately mourned) that Eden, Narnia, and Valhalla were not real, and that impulsive, feel-good historical doctrines like Manifest Destiny and Pax Britannica needed scrutiny. This awareness is for the most part salutary. Yet it...

Notes

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pp. 193-212

Bibliography

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pp. 213-222

Index

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pp. 223-229


E-ISBN-13: 9780472027767
E-ISBN-10: 047202776X
Print-ISBN-13: 9780472117956
Print-ISBN-10: 0472117955

Page Count: 248
Illustrations: 10 B&W photos
Publication Year: 2011