Art

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Art ' played on Broadway in New York at the Royale Theatre from 12 February 1998 to 8 August 1999, again produced by Pugh and Connery, plus Joan Cullman. The opening cast featured Alan Alda (Marc), Victor Garber (Serge), and Alfred Molina (Yvan), who was nominated for a Tony Award for Best Actor in a Play for his performance. 'Art ' won the Tony for Best Play and went on to a 600-performance run. [3] Marc’s sense of individual identity, his sense of who he is as a person, is dependent on feeling that his friends look up to him and follow his lead in forming their opinions. Marc is threatened by Serge’s show of independent thought and taste because he interprets this act as a personal rejection. Marc’s feelings toward his friends are thus very self-centered and are based more on flattering his own ego than on a real affection for others. Marc tells Serge, ‘‘I loved the way you saw me,’’ not that he loved Serge for who he was as an individual. Serge exclaims to Marc, ‘‘Everything has to revolve around you! Why can’t you learn to love people for themselves, Marc?’’ Because Marc is so insecure about his individual identity, he feels unloved by his friends if they demonstrate any independence from him. The play, is about ideas – what is modern art and what is its value? How do we approach art, how do we relate to it and place a price on it? Does art fuel our soul? Or is art nothing more than absurd – rather expensive – preoccupation for the rich? Art was, of course, a huge hit in the mid-nineties. Short enough that you could grab dinner afterwards (at a time when most plays weren’t). Successful enough that one profile of its writer could run to a mere five words – "Yasmina Reza est tres riche." It ran for eight years, and caught something of the British public’s fascination with – and scepticism of – contemporary art. A year before Reza’s play opened in London, Damien Hirst had won the Turner Prize with his bovine formaldehydes. Art seems to be Reza's most realistic portrayal of human relationships. I'm not ashamed to admit that I found myself and my relationships to some of my friends in that piece. Friendships are hard, man, especially ones between three people where it's always hard to keep a good and healthy balance. Some of those dialogues could have actually sprung directly from conversations that I had with my own friends (albeit in a different context, of course), especially the silent communication between two while a third is left out, or the shift in attitude and conduct in relation to which friend one is speaking to.

Yvan is engaged to be married in two weeks to a woman named Catherine, and he has just started a new job working for Catherine’s uncle in a stationery business. It seems that Yvan has never really held a steady job and that he has been single for much of his life. In an aside to the audience, Yvan states that he is not the kind of person who is ever really happy. Later in the play he describes how terribly lonely he has been for most of his life. The initial situation is worthy of a modern Molière and Reza turns it to great dramatic advantage. She shows, in 90 minutes, how an argument over a canvas opens wider disagreements: Serge and Marc represent not just the modern and the traditional but also differing views of friendship. Serge has always been the pupil and Marc the teacher, but investment in the canvas reverses the roles. The resulting work was Le Dieu du carnage ( God of Carnage), one of the most popular and acclaimed plays of the last 10 years, which has seen several theatrical productions and has now been made into a film directed by Roman Polanski, starring Kate Winslet, Christoph Waltz, John C Reilly and Jodie Foster as warring, middle-class couples who meet to discuss their children's playground fight. Up to that point, Christopher had only ever translated dead people. This was the first time he'd had someone alive, on the phone to him. We reworked and reworked it and I know I was annoying him and he was saying to people, 'She's giving me such a hard time and she barely speaks English!'" There is a pause. Then she adds: "Now my English is much better." Marcos: No deberíamos jamás dejar a los amigos sin vigilancia- Hay que vigilar siempre a los amigos. Si no, se nos escapan… Mira al pobre Iván, que nos encantaba con su actitud despreocupada y al que hemos dejado que se volviera miedoso, papelero… Pronto marido…, un muchacho que aportaba una singularidad que ahora se esfuerza por borrar. Sergio: ¡Qué nos aportaba! ¿Te das cuenta de lo que estás diciendo? ¡Todo es siempre en función tuya! Aprende a querer a las personas por ellas mismas, Marcos.Reza does entertain with her ideas and her presentation, though the play is neither as sharp nor as funny as one might hope. From December 2016 to February 2017 the production, directed by Matthew Warchus was revived at The Old Vic in London to celebrate its 20th anniversary, starring Rufus Sewell, Tim Key and Paul Ritter [4] and began touring the UK from February 2018 starring Nigel Havers, Denis Lawson and Stephen Tompkinson. [5] [6]

Aunque Iván es un muchacho tolerante, y eso en materia de relaciones humanas es el peor de los defectos. The Polanski film, called simply Carnage, is remarkably faithful to the original. Despite the setting having been transferred from Paris to Brooklyn, much of the dialogue remains and the bulk of the action takes place within four, claustrophobic apartment walls. And maybe it is this self-confessed respect for language, this delight in its nuance and capacity for obfuscation, that gives Reza her ear for dialogue. Which makes it all the more interesting that her success relies, in large part, on her translators – playwright Christopher Hampton, who won an Oscar in 1989 for his adaptation of Dangerous Liaisons, has translated most of Reza's plays for the British stage. Did she find it difficult to trust him? Abstract art emerged in the post–World War II era and continued to develop throughout the latter half of the twentieth century. Yet it is inaccurate to simply equate modern art with abstract art. Although most abstract art falls into the category of modern art, modern art encompasses many movements that are based on representational art as well.Marc and Serge wait at Serge’s apartment for Yvan to arrive, as the three of them have plans to go out to a movie together. While they are waiting, Marc and Serge discuss the white Antrios painting. Serge brings the painting in from another room, and the two men contemplate it. The comedy, which raises questions about art and friendship, concerns three long-time friends, Serge, Marc, and Yvan. Serge, indulging his penchant for modern art, buys a large, expensive, completely white painting. Marc is horrified, and their relationship suffers considerable strain as a result of their differing opinions about what constitutes "art". Yvan, caught in the middle of the conflict, tries to please and mollify both of them. Yvan visits Serge at his apartment, and they discuss the Antrios painting. Yvan is more openminded about discussing the qualities of the painting itself than Marc was. When Serge tells Yvan how much he paid for the painting, they both share a hearty laugh. Serge tells Yvan that he resents Marc’s response to the painting because of his tactlessness, insensitivity, and tone of smugness in expressing his opinion about it.