The article was published on the website of the newspaper " New York Times" on April 4, 2013, by Charles Isherwood, which is called "A Captive of Human Nature "Kafka’s Monkey"" and tells us about a new perfomance at Baryshnikov Arts Center.
It's necessary to point out, that portraying a creature stranded between a human present and a simian past in “Kafka’s Monkey,” a spellbinding solo show that opened on Thursday night at the Baryshnikov Arts Center, Ms. Hunter has so thoroughly assimilated the postures and physical tics of the “ape” her character once was that the author would have sworn she had managed, through serious dedication to certain yoga poses, to stretch her arms somehow so that they hung below her knees permanently.
Isherwood emphasizes the fact, that people may come to share that feeling by the conclusion of “Kafka’s Monkey,” which is adapted by Colin Teevan from the short story “A Report to an Academy,” and directed by Walter Meierjohann. Moreover, presented by Theater for a New Audience, this production, originally from the Young Vic in London, offers an hourlong immersion in Kafka’s grim view of civilization, that delivered with such slyness that the dark messages about humanity’s bestiality come through gently, almost insidiously.
Moreover, the author proves the fact, that people in the audience are a scientific assembly gathered to hear the remarkable story of how monkey became man, gazing occasionally at a large projection of his original form as he begins his tale, he becomes quietly rapt, as sadness, curiosity, embarrassment and amazement flicker across his agile features.
n addition to that, the author can't deny the fact, that Hunter’s performance is perhaps the most physically remarkable he's ever seen on a stage with Red Peter moving his white-gloved arms in smoothly choreographed arcs, and occasionally breaks into a dance step or two, he alternately reverts to his more apelike behaviors, including at one point scampering up to a woman in the front row and picking through her hair for tasty morsels of lice, which he then offers to share with others, as a delicacy.
To draw the conclusion, the author says, that one should, however, not forget that this is much more than a feat of actorly athleticism, it's a wry wisdom, a touch of cheeky humor and, above all, a sense of dignity just slightly tinted with melancholy at the isolation that Red Peter’s forced march up the evolutionary scale has brought.
In my opinion such perfomance is a extremely useful way for different people to see the nature and the essence of humanity - to allow yourself to be stabbed with a knife of satire, but with a smile on your face to be healed and cured from the wound of irony.
It's necessary to point out, that portraying a creature stranded between a human present and a simian past in “Kafka’s Monkey,” a spellbinding solo show that opened on Thursday night at the Baryshnikov Arts Center, Ms. Hunter has so thoroughly assimilated the postures and physical tics of the “ape” her character once was that the author would have sworn she had managed, through serious dedication to certain yoga poses, to stretch her arms somehow so that they hung below her knees permanently.
Isherwood emphasizes the fact, that people may come to share that feeling by the conclusion of “Kafka’s Monkey,” which is adapted by Colin Teevan from the short story “A Report to an Academy,” and directed by Walter Meierjohann. Moreover, presented by Theater for a New Audience, this production, originally from the Young Vic in London, offers an hourlong immersion in Kafka’s grim view of civilization, that delivered with such slyness that the dark messages about humanity’s bestiality come through gently, almost insidiously.
Moreover, the author proves the fact, that people in the audience are a scientific assembly gathered to hear the remarkable story of how monkey became man, gazing occasionally at a large projection of his original form as he begins his tale, he becomes quietly rapt, as sadness, curiosity, embarrassment and amazement flicker across his agile features.
n addition to that, the author can't deny the fact, that Hunter’s performance is perhaps the most physically remarkable he's ever seen on a stage with Red Peter moving his white-gloved arms in smoothly choreographed arcs, and occasionally breaks into a dance step or two, he alternately reverts to his more apelike behaviors, including at one point scampering up to a woman in the front row and picking through her hair for tasty morsels of lice, which he then offers to share with others, as a delicacy.
To draw the conclusion, the author says, that one should, however, not forget that this is much more than a feat of actorly athleticism, it's a wry wisdom, a touch of cheeky humor and, above all, a sense of dignity just slightly tinted with melancholy at the isolation that Red Peter’s forced march up the evolutionary scale has brought.
In my opinion such perfomance is a extremely useful way for different people to see the nature and the essence of humanity - to allow yourself to be stabbed with a knife of satire, but with a smile on your face to be healed and cured from the wound of irony.
VERY GOOD!
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how monkey BECOMES man
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