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Show RTS^ENTERTAINMENT Thursday, October 12,2006 y Page 4 : > • ^ ^ • ^ • ' ARTS . Thursday, Oct. 12 Behind Big Brother Lecture Siclliano Forum: "Considerations of the Status of American Society" '1984' playwright shares secrets behind adaptation process Free Noon to I p.m. Alexandra Gregory Daily Utah Chronicle "Revolutions always have the bcSt of intentions," said Michael Gene Sullivan, playwright of the upcoming The Actors' Gang production of "1984." A revolution begins with a peoples' demand for justice, Sullivan said. "Frequently, it ends up that this demand for justice becomes so strident that anyone fighting against it—anyone who's saying, 'Well, we should moderate this,'—becomes the enemy until you end up with a dictatorship." Sullivan, who also works as an actor and director, was at an advantage in approaching the adaptation of George Orwell's novel 1984 to the stage in that he had already acquired two centuries' worth of related knowledge; Given his initial career objective to become a teacher, Sullivan studied governments and revolutions long before he began to work on "1984." Sullivan also cited his ethnicity as a contributing influence. "As a black person in the United States, I kind of know what it's like to constantly have the cops following you," he said. "Being arrested, or just being pulled over, when clearly you haven't committed a crime (creates) a tension that you shouldn't have to have in a society with laws where you should feel safe. There's an automatic feeling of, 'I have to be careful right now.'" "That semi-police state that black Americans find themselves in—that is what I particularly bring to (the adaptation)," Sullivan said. In translating the novel text to play text while also taking the Stalin trials into account, Sullivan made the decision to focus on what he said he believes is the most important section of the book. "The heart of the book is a section called 'Goldstein's Book,' where the enemy of the state has laid out his analysis of totalitarianism, ongoing war as a motor for the economics of a country and how fear is used to get people to give up their security," Sullivan said. "(I feel) that's the center of the book; that's why Orwell wrote it. I needed to find a way to write this whole play just so people could hear that part." In response to his own challenge, Sullivan took aspects of the novel's world, in which civil rights and liberties are sacrificed for the sake of patriotism, and designed a theatrical, yet real- istic setting in which he could communicate his desired message. "The play starts with (the character Winston Smith) already being arrested, and the whole thing is his interrogation. It's a real-time, torture interrogation that is happening; it takes the amount of time that the play takes," said Sullivan. Rather than set the play in different locations across the town or showing the thoughts Winston is having, Sullivan chose to illustrate these scenes through re-enactments. "In the book, (Winston) is keeping a diary. In the interrogation (in the play), the state that controls him has him in their clutches—they have his diary," he said. Four party members run Winston's interrogation throughout the play. As they go through his diary asking for validation of crimes, the party members reenact scenes whenever faced with denial or hesitation from Winston. "The main thing is that the show is about the audience," said Sullivan. "The reason those four party members are there is not just to re-enact (Winston's) story, but also because they represent us." The nameless party members represent U.S. citizens who may be in disagreement with the government's procedures and behaviors, yet remain quiet because they "don't want to kick up a fuss" for fear of seeming unpatriotic, Sullivan said. "At what point—when you're just kind of going along with a loss of civil rights and an increase in governmental power— at what point do you no longer have a choice and you only have yourself to blame?" a.gregory@ chronicle.utah.edu Dumke Auditorium at the UMFA (410 Campus Center Drive) Theatre "Prelude to a Kiss** $5 for students; $7 for faculty and staff; $9 for everyone else 7:30 p.m. Studio 115 in the Performing Arts Building Indie concert Yo La Tengo What: The Actors' Gang production of" 1984," directed by Tim Robbins, adapted from George Orwell's novel by Michael Gene Sullivan. $ 18 in advance/ $20 at the door 8 p.m. In The Venue (579 W. 200 South) Where: Kingsbury Hall When: Oct 13 and 14,7:30 p.m. Q&A after each performance. Theatre "A Streetcar Named Desire" How much: Tickets: $29.50/$24.50. ASUU-sponsored ,; student discount $ 19/$ 14.50.' U theatre major discount up to two tickets for $ 10 each with UCard. :^i U faculty discount 10 percent off-- • with UCard. For more information, visit vvww.BigBrDt/ierisWatchingU.com. ,.^'J^^^^^^K^y^ $6 for students, $9 for faculty and staff, $ 12 for everyone else 7:30 p.m. In the basement of Pioneer Memorial Theatre {300 S. 1400 East) RYAN PERKINS/7VZ?B//V Vratr Ommkle, Instructors organize art exchange program Boise State artwork on display now Victoria Johnson The Daily Utah Chronicle It turns out Idaho exports more than just potatoes. Various works from Boise State University's art students will be on display at the Gittins Gallery in the U Art Building from today until Nov. 3The pieces, in various media, were sent from the Boise State Art Department as part of a new program that encourages relationships among art students in the region. U sculpture professors Kaiti Slater and Paul Stout came up with the exchange idea last year after meeting Anika Smulovitz, assistant professor of small metals, at Boise State. "(Smulovitz) organized everything," Slater said. "Initially, we were just going to do small metals. Then it switched over from small metals to sculpture." Ultimately, no sculptures will CHRISTOPHER PEDDECGRD/77r<- Daily Utah Chmnidr Graduate student and choreographer Lisa Benson watches dancers rehearse her work, "Pieces of Fabric: Silk and Lace," in preparation for Ballet Showcase I, which opens tonight at the Marriott Center for Dance. Contemporary choreography Emerging student choreographers to present their work in this weekend's showcase Cressa Perloff See ART Page 5 Where*"" Gittins Gallery, Art Building Oct. 12 through Nov. 3 Opening Reception: Thursday from 3 to 5 p.m. Regular gallery hours: Monday through Friday, 8 a.m. to 5 p.m. How much: Reception and exhibit are free. ARIANA TORREY/ The Dally Utah Chronicle The Daily Utah Chronicle Much like sandwiches, the concept of gravity and the light bulb, ballet has been around for a few centuries. One difference, however, is that ballet was not discovered and established, but rather has seen choreographers shine new light onto it over time. You have a chance to see some works of the U's own choreographers' this weekend as the ballet department presents its biannual Ballet Showcase. Performed in the Hayes-Christensen Theatre at the Marriott Center for Dance, located across from the U Bookstore parking lot and the Marriott Library, the ballet group is performing Ballet Showcase I for the sole purpose of highlighting emerging student choreographers' work. This weekend, 16 undergraduates and graduates will present their various pieces of choreography. Faculty adviser Maureen Laird oversaw the audition and rehearsal process. "I am impressed with the variety and the quality of the selections," she said. The evening includes African dances by Sterling Becker and Amy Miller, as well as works like "Valse Classique," a piece en pointe, choreographed by Constanza Blankenship and set to music by Tchaikovsky. Lisa Benson, a second-year graduate student, concludes the evening with her work, "Pieces of Fabric: Silk and Lace," which explores the sensual qualities of textiles. Laird commended students for their hard work and for truly putting their personalities into their choreography. "They have diligently overseen all phases of creating a new work from the audition process, through the rehearsal period, to lighting and costume design," she said. Laird also lauded the students' innovation. "The dancers constantly impress me with their ingenuity and creativity," she said. To choreograph and have one's piece selected for the showcase is a privilege and a learning experience, Laird said. Pieces had to pass through two showings to prove that "(students') work was genuine, wellconstructed and well-thoughtout enough to be part of the program," she said. Some of the choreographers this term are new to the experience of choreographing, while Ballet Showcase I When: Thursday, Friday and j Saturday at 7:30 p.m.; Saturday matinee at 2 p.m. Where: Hayes-Christen sen Theatre of the Marriott Center for Dance How much: Tickets are $7 at the door. ARJANA TORREY/ The Daily Utah Chronicle some have had works included in showcases before. In any case, "they learn the craft of making dances from interactive experimentation in movement," Laird said. c.perloff@ chronicle.utah.edu |