Tag: theatre

An Ideological Art Attack

Hamar Williams2 Comments

Starline Social Club in Oakland has gone up for sale. I have never been to this venue, and likely won’t ever set foot in Oakland let alone this club. I only know it is up for sale because it’s sale was shared by a friend of mine on Facebook. Why this is worth mentioning is because it is yet another venue in the long list of such places that have already closed and others that will. Pubs are struggling but can invariably stay open. Numerous clubs, live music venues, theatres to name but a few examples are likely to go bust if this continues much longer. People’s safety must come first of course and a solution without some kind of financial assistance is far from clear. What the arts do need though is some kind of support.

Rishi Sunak the British Chancellor recently suggested that artists and musicians who couldn’t find work should retrain. There wasn’t any suggestion that they should be supported through this crisis, they should simply become something else. Here he is below doing his best impression of Will from The Inbetweeners.

He may as well have just uttered the ‘get a real job’ statement because clearly he was thinking it. Who needs artists when they can design images for adverts or musicians when they can be creating songs for adverts or playwrights when they could be writing scripts for adverts. How is capitalism going to function successfully if people refuse to exploit others.

More concerning is how this is playing out in the culture wars. I read recently that while the right won the economic war, the left won the culture wars but clearly both are still being doggedly fought. It is telling though that if you were going on probable likelihoods, the arts would predominantly be a theatre for left wing ideals. Are we seeing right wing governments in both Britain and the US intentionally allowing the music and arts scenes to go bust. Is this lack of support and funding simply an ideological attack? It doesn’t need too much of an imagination to make that leap. How better to attack your opponents by watching them struggle, hindering their chances of attacking you in the future.

There is one thing they seem to miss though. You can lose clubs, theatres and art venues but people will always be able to find a way to express themselves. If you try to take away their means of doing so they will simply come up with other ways. They are creative, they will be creative. And most importantly by attacking this scene they are simply entrenching anti-Conservative or anti-right wing capitalist ideals for at least another generation. People don’t forget. If pain brings out the creative, the grassroot streets are going to become a scene of colour before too long.

The Great Showmen

Hamar WilliamsLeave a comment

What’s going on in the world then. A section of Trump’s infamous border wall with Mexico blew down. Apparently Hurricane Hanna got the better of it. Past wall failures include another section in California being knocked over in January following a strong breeze, smugglers taking minutes to saw, yes saw, through sections of the wall and another incident in San Diego apparently saw them doing this eighteen times in one month. Perhaps a series of the same incident would be more apt. It does suggest he has been making it on the cheap and undoubtedly this does fit in with the type of image of Trump we have. Doing things for show without any substance and grabbing everyone’s attention with another outlandish ‘project’ the moment the old one starts to fall to pieces. Why anyone thought a showman would change his stripes I just don’t know.

The plan wasn’t just to talk about Trump, it was to mention a few things going on in the world but it’s so easy to start with him and get carried away with whatever it is he’s doing now. I think the whole world knows what’s going on, although saying that having just quickly checked the BBC, even on the actual US regional page it doesn’t really mention a lot about how arguably troops, or their equivalent at least, have been deployed on domestic streets and quite violently against peaceful protesters. It’s almost more interesting to see what’s newsworthy and not being reported. The man is gearing up for an election as he tries to get everyone to forget about his handling of Covid-19, as well as the fact he’s still continuing to handle it badly, and focus instead on how good he is or would be at cleaning up the streets. The law and order campaign approach being one usually deployed by a hopeful incoming President criticising the current occupants job, how that quite works with a sitting President suggesting he’ll clean up the streets of not only a country he’s been running for four years but that he’s repeatedly said has “been made great again” is still slightly unclear. I’m sure he’ll all confuse us with his explanation.

What else has been going on then. Well he’s still orange. He’s still the slightly shittier American version of a television series that originated in Britain and revolved around Boris Johnson performing a stage version of A Clockwork Orange. We thought it could never be topped but evidently in the most brash of American ways it has been. I wonder which one will run for longer without being cancelled. I wonder too what the spin-off would be; their best mate Nigel Farage losing all his money and having to hang out with the working men he pretends he’s one of. Or the ultimate twist of fate, through a loophole in the law he gets kicked out of the UK and manages to claim refugee status in Germany with his wife and kids. Now that would be both compulsive and car crash television. Maybe Boris, Don and Nige could be the three men to Dominic Cummings as the baby; probably doing his best version of an early Stewie Griffin when he was his in murder everyone faze. They just don’t make television like they used to. They don’t really make reality what it once was either though. Maybe it’s just those blurred lines confusing us all. Which is which, we just don’t know.

BR#9 – Accidental Death Of An Anarchist

Hamar WilliamsLeave a comment

Another new playwright has crossed my path. Dario Fo wrote Accidental Death Of An Anarchist in response to the 1969 death of an anarchist in police custody Milan. He had been accused of the bombing of the Agricultural Bank which had resulted in the deaths of sixteen people. While in custody he, according to the official account at the time, committed suicide by jumping out of the window on the fourth floor of the police headquarters. Ten years later three fascists were convicted of the crime, some of whom were agents of the secret police, and in court proceedings it was determined that the major actors behind the bombing had been senior ministers and Generals who were condemned before being acquitted. The state once more protected it’s own while allowing those at the bottom who actually committed the act itself to go down for it. The play was written prior to this final outcome and was partly in response to a dearth of reporting from both sides of the political spectrum, the right-wing for obvious reasons and the Communists because they’re little more than power hungry political stooges themselves.

The play is set one week after the event and Fo uses the character titled Maniac to highlight the ridiculous nature of the police account of events, their incompetence and as a vehicle to get his political message across. I’m sure there’s a name for this type of character in a play but I forget what I learnt in school. While serious and dry approaches to storytelling always have their place, there is a particular way satire manages to express an idea and create an understanding in the audience. It is more accessible, despite it being on a serious topic comedy allows people to take it in without feeling they need to immediately react in a serious manner. Fo does this expertly and through his use of the Maniac manages to create a situation in which the police expose their own corruption and the left wing reporter her own hypocrisy.

To quote the Maniac in one of his more lucid moments;

“Why not ask yourself, Miss Feletti, what sort of democracy requires the services of dogs such as these? I’ll tell you. Bourgeois democracy which wears a thin skin of human rights to keep out the cold, but when things hot up, when the rotten plots of the ruling class fail to silence ours demands, when they have put the population on the dole queue and squeezed the other half dry with wage cuts to keep themselves in profit, when they have run out of promises, and you reformists have failed to keep the masses in order for them; well then they shed their skins and dump you, as they did in Chile*, and set their wildest dogs loose on us all”

*While events in Chile happened after the original was written, the text I read from was translated and adapted in the 1980s hence the reference.

BR#8 – One For The Road

Hamar WilliamsLeave a comment

I still refer to these as book reviews when if we’re all honest they’re probably something else. What they actually are I’ll leave to the annuls of history to decide but in the meantime and for the sake of form they’ll continue to be book reviews. I am reviewing plays seemingly more regularly than books too, although a play is still arguably a book, but with One For The Road by Harold Pinter being a one act play, only sixteen pages long, it’s more of a pamphlet than anything else. It’s so short in fact that when I finished reading it I decided to read it again, just because, well, why not.

One For The Road is set in what I assume is some kind of headquarters of the secret police under a totalitarian regime. The man in charge refers to patriots so you can imagine nationalism plays a role but he refers to god more often which makes me believe this is some Christian fundamentalist regime on par with Margaret Atwood‘s The Handmaid’s Tale. That probably just exposes my ignorance of a better relatable example and a sign of my being lazy. It also ignores the general complicity of the Church in right wing totalitarian states in our history so it could just be a simple case of something along those lines.

The story revolves around what can be classed as interviews between someone of importance, potentially the head of the secret police, and individually the three members of a family taken in for interrogation. The father / husband, wife / mother and their son. The man is beaten and while he challenges his interrogator slightly he generally remains silent and passive. It is likely they have all been arrested because of his political activity. The woman talks more, although there are more direct questions and it is revealed she is being repeatedly raped. Her father is also revealed to be a national hero, a heroic soldier who fought and died in some war that presumably led to the establishment of this state. While the boy who is only seven we discover spat at and kicked the arresting soldiers when they came to his house. At the end he is referred to in the past tense. The interrogator is constantly pouring himself drinks and suggesting it’s one for the road but the implications are more that this will be one for the road before they are released. This of course doesn’t come and there is something chilling in this psychological torture too. That is basically the story, which I’ve now given away but in such a crude manner I’ve not gone near to doing it justice.

I know very little about Harold Pinter beyond his name. I did study Drama for my A-Levels at school but like everything was left incredibly unimpressed by any teachings provided, although my lack of effort and involvement mustn’t be discounted. It is only now as I get older that I start to understand that these things can actually be enjoyable. It is short and I would be curious how and in what circumstances the play would be performed. There are a lot of pauses so potentially they would make better use of them than I did but it was a good introduction to his work. I look forward to reading some more, maybe even a full length one next time. He certainly appears to be someone I could get into.

BR#3 – Enemies

Hamar WilliamsLeave a comment

I say book review but this is a play, and which it is a book, maybe I should call it Play Review or PR#1? Despite reading plays at school and studying drama it is only really in the last year I’ve discovered I really enjoy them. Obviously they’re different in how they share a story with the reader but without the descriptive part you take the time to enjoy the language of conversation and the scene set in this way. There is also the added bonus that you can read a play in a couple of hours and feel like you read a book in one day as opposed to one month which is extremely satisfying.

Enemies then is a play by the Russian playwright Maxim Gorky. It is set in 1905 just prior to the 1905 Revolution which was a precursor in a way to events in 1917. The early signs of later events are spread throughout the text, with the workers rebelling against the factory owners and the authoritarian response in return. This was a time of Tsarist oppression, as had always been but also of liberalisation of the country, or attempts at least. Gorky, who himself was involved in events in 1905, does a good job showing there to be little fundamental differences between the more dictatorial bosses and the ones who feign liberal ideals while continuing to depend upon the workers struggles for their vaulted positions. Plays can have a habit of lacking subtlety with characters as they have such a short time to get a message across and this play is no different. The bad guys are buffoons and the good attempting in vain to get across the message that change is on it’s way. Interestingly enough with the knowledge of hindsight, there is something eery in the premonitions about what is to come. This was written in 1906 after the 1905 Revolution was crushed but over ten years before the 1917 one succeeded and we all know what was to come afterwards.

Generally I’m a fanboy of Russian literature and plays, they seem to understand suffering in a way others can only guess at. While this is not grim, it is what it foretells that really makes you stand up and pay attention. You feel like you are watching through a window as the seeds of history are being planted. There is something admirable and courageous in it.

Interestingly enough the text I read was from a Royal Shakespeare Company performance from 1971 and quite remarkably looking at the cast list it included Helen Mirren, Patrick Stewart and Ben Kingsley. The seeds of revolution being planted by the seeds of future cinema. Quite unbelievable. To have been there and not known, can we ever at the time?