27. 10. 2010.

Between Art and Life - E. Kean

It is difficult to linearly and unambiguously describe a play which in itself, does not comply with these attributes. For that reason, the review of the play "Kean", as directed by Frank Castorf, will, like the play itself, be divided into two parts, but, unlike the play, be written by two people. To write about this performance is to come to grips with its many meanings, topics, technical and stage solutions. Venturing into this intricate network of subtexts that constitutes the play, and is shaped within the play by a system of concentric circles, opens up a possibility of analysis and interpretation, but does not guarantee a definite stand point as a result. The play "Kean" is a multilayered and complex play tailored from differences, but, at the same time, also a compact and concise whole.

"Kean” is a play that aims to revive Edmund Keane, a Shakespearean actor and performer who lived in England in the early nineteenth century. The story of Kean, his life and birth in the lower classes, his rise to popularity and presence in the press, is told in a delicate way, with a mixture of classical and post-dramatic theatre. The play begins with an ordinary scene of two ladies having a conversation. The stage is laid out very simply, and an atmosphere of moderation and calm prevails. As a result, through dialogue, the voice, the diction comes to the foreground. It is very significant that Kean is not immediately introduced on the stage – the characters tell stories about him, the audience doesn’t see him, but he is present in spirit. With his absence, he speaks, and signifies. When Kean does finally appear, it soon becomes very clear why his acting skill made him legendary. After the viewers get to know the actors a little, the white wall erected on the stage is torn down, allowing the audience to venture deeper into the stage, and into the action itself. We are then confronted with the question: "Where does human happiness lie?" This question permeates the play, but the play does not answer it. Perhaps the most accurate attempt of an answer would be: "Happiness is in creation".

"Kean" is played out and can be followed on two levels. On both levels, there are different plans that are constantly alternate. It could be argued that one level lies on the surface, while the other takes a deeper approach. The plans teeter between classic and post-dramatic theatre, but also between art and life. As is the case with postmodern literature, this performance too can be seen by following the surface course of events, following the story of Kean and enjoying the comic elements etc. However, recognizing the depth of topics and allusions opens up a wide range of meanings and a wealth of technical solutions. This makes the surface reading efficient and functional without the deep reading, which only enriches it. With the in-depth reading, the meaning does not change, but is just completed. We do not need to recognize the many subtexts of the play to enjoy – that is one of its values, among other things. It is open to anyone – to those who want to enjoy theatre and those who want intellectual pleasure. Another concoction that takes place in "Kean" is the intertwining of the so-called base comedy (the tripping and falling on stage) with high and refined comedy. Perhaps this is because the play is realized through a reflection on art, but also on life itself – the play re-examines and rewrites both forms of existence. We see this in the line: "But this is not art, we are in the midst of life".

The revival of Edmund Keane, the actor, is accomplished in the acting as such. This solution is both painfully easy, and also quite complex. We will of course talk about the actor by and with the help of, but how, and through what kind of acting? There is the possibility of mimicking the manners of the times and of imitation, but this is not the case here. This Kean, starring in a special way, he approaches both the play itself and the acting self-referentially. He has mastered the craft of acting to the extent in which he can play around with it, pretend that he has forgotten to his lines, or we can see him reading the subtitles – which works really well. In a very skillful way, Kean incorporates the audience into the play. With the line: "I always lean on the support of the audience", he underpins the importance of this contact, and the applause he gets in return is sound proof of their successful communication. The play is a process through which we see a permeating question: how and in what way do we revive the actor of Shakespeare's works. It seems that a certain ironic deflection is essential, rather than imitating or quoting verbatim, because our society is not ready for such roles. However, on the other hand, a certain amount of authenticity needs to be brought onto the stage. In this respect, the play “Kean” is perfectly balanced, because it manages to create a balance between classic and post-dramatic theatre, where they are correlated, comment on each other without mocking each other, they condition and make each other possible. Two of the six elements of drama according to Aristotle are highlighted here, namely speech and music. It is on the basis of these two elements that a play has been built, characterized by a harmony of style, as well as restraint and moderation. Music has a twofold purpose: it is a form of relief, a break, but also shows Kean’s connection to pop culture - he was one of the first stars of the media. This brings us to the next important question: “To what extent can public opinion be taken seriously?” Kean is the pride of London, the sun of London, and becomes popular to the extent that he states: “When I look in the mirror, all I see is a picture from the newspaper.” Kean becomes so famous that he loses his privacy, he loses the dimensions of his self, and is identified with only dimension – that of an actor. This loss of self-awareness is presented to the audience in a picturesque way. At the point, the audience ceases to be an audience in a theatre, is moved to a rock concert, where the spotlights are directed towards them, and they begin to clap to the rhythm of the music!  In several situations, the performance manipulates the audience, making them forget their place, and start to behave differently than usual in this situation. The play moves us from one area to another, from the context of a play in the context of a concert, on a simple, almost empty stage, that is transformed by speech, music and light. We can be conclude that the stage hides so much free space- the question is just how to revive it.

In addition to becoming extremely popular, Kean starts to be seen as a deity, an icon. His excessive presence in reality encourages his loss of sense. Kean can not draw the line between himself and the actor within him, or between himself and what newspapers write about him. This is a difficult, sad and a serious rift in a man depicted in a humorous, easygoing manner. His line: “I am the king of three nights in a week” refers to this overlap of the two plans - art and life. Kean is less and less able to distinguish his civil personality from that of the actor. For him, the two plans become one, art becomes a reality, it becomes life. Therefore, in respect of Kean, we can use the phenomenon of the “unprotected reader”, exemplified by Emma Bovary and Don Quixote, characters who never separated reality from literature, just like Kean, who is infatuated with theatre to the point that he considers it his life.

The boundary between theatre and reality becomes fainter as we get closer to the second part of the play, where reality waltzes in, in all grandeur, through social, political and social problems. In addition, this shift takes place in a subtle fashion.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARH!!!!!!

Smoke that cigarette, quickly, quickly. Before the lights start to flash.

Then you have to go into the second part. And take a seat down there. Or in the gallery, if there’s no room. There’s bound to be more room in the gallery. Where can you get a better view? Of who? Of Kean? Kean, the glorious, celebrated and hated actor, the most genius performer of Shakespeare? Yes, him.

One minute I see him, and the next minute I don’t.

Who would know, a party at the National Theatre.

Who would think that young people could sit for over four hours in the chairs, and on the steps.

Aaaaaaaaaaaaaarh!