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...Where No Woman Has Before, Is Rachel Rosenthal's Theatrical Trademark.
By James Reel
THICK AND BALD, Rachel Rosenthal sits at a little table
off to the side of her performance-art work Timepiece.
Rosenthal narrates the proceedings she has masterminded, as if
she were a suave observer of life as a surreal nightclub act.
But later, on her feet, she's a distaff Lear railing at an unjust
universe. In this universe, we watch a veiled woman in a wheelchair
feebly struggling out of her wrappings, like a butterfly emerging
from a chrysalis, only to slide exhausted and most likely dead
to the floor.
Another time, a man--an ordinary young man, except that he's
wearing wings--is delivered a message, which he reads with dismay:
"Change takes time!" He moves toward a hurdle, over
which he executes a series of slow-motion leaps and flips, ever
so gracefully.
Along the way, Rosenthal declaims about "brain liposuction"
and "cosmic geriatrics." It would all be unbearably
pretentious if Rosenthal were more solemn. But although she takes
the underlying issues very seriously, there's something deliberately
arch and subversive about her art.
The April 24 Centennial Hall appearance presents Timepiece,
a 90-minute work given without intermission. It's billed as "a
visceral, visual exploration of cosmic and physical time and memory
incorporating spoken word, computerized music, and large-scale
live and recorded video projections."
That's not the half of it. Rosenthal's company sweeps and jitters
across the stage with movement that's inspired by everything from
Butoh to modern dance to everyday athleticism. And once in a while
the people simply walk around in a circle, rushing through smoke
and colored lights and music by Amy Knoles of the California EAR
Unit and the Paul Dresher Ensemble.
Timepiece is about memory and its distortion; it concerns
time and relativity and survival.
Rosenthal herself knows something about survival. Born in Paris
of Russian parents, her family fled Europe during World War II,
and a bit of Holocaust survivor guilt has found its way into some
of Rosenthal's work. Her family settled in New York, where young
Rachel graduated from the High School of Music and Art. After
the war, in both New York and Paris, she studied art, dance and
theater with the most innovative figures she could find: Merce
Cunningham, Erwin Piscator, Jean-Louis Barrault.
Her imagination bursting with the theories of Antonin Artaud
and the Paris Absurdists, Rosenthal moved to Los Angeles in 1955
to teach at the Pasadena Playhouse. Her ideas just didn't play
in Pasadena. She lost her job, but soon created a new one for
herself. Out of group-improvisation workshops she'd been conducting
for painters, poets, actors, musicians and magicians, she created
the influential underground Instant Theatre. It lasted more than
an instant--10 years, in fact.
In the 1970s Rosenthal played a leading role in the L.A. Women's
Art Movement. Along the way she indulged in an affair with artist
Jasper Johns and a marriage to some fast-food clown named Ronald
McDonald. A survivor, indeed.
Since 1975, Rosenthal has focused mainly on writing, teaching
and creating new solo and group works (more than 30 of them so
far). She founded her current group, the Rachel Rosenthal Company,
in 1989 as a vehicle for her latest collaborative, improvisatory,
boundary-breaking performances. Yet she aims to attract a large
audience--hence her appearance in the 2,400-seat Centennial Hall,
an event the sponsors tout as "accessible, entertaining and
often amusing" enough to appeal to a wide range of people,
although it "contains frank language and adult themes which
may disturb sensitive patrons."
However disturbing her work may sometimes be, it is hardly offensive.
Rosenthal is everyone's eccentric aunt from California, her mild
touch of looniness being her way of confronting issues the rest
of us might rather not face. In the 1970s, she shaved her head
in memory of victims of the Holocaust, and never grew her hair
back. (Her voluntary hairlessness has two unintended consequences:
it makes Rosenthal look 20 years younger, and assures chemo patients
that bald can, indeed, be beautiful.) Rosenthal describes herself
as a feminist, an animal rights activist, a vegan vegetarian and
an Earth worshiper, and declares simply that her work centers
on the issue of humanity's place on the planet. No shortage of
material there.
Even after she retires from touring two years from now, she intends
to continue creating interdisciplinary works for her company.
Before that, she has one more solo piece in the works. Ur-Boor
is described as being set on a space station in the future and
exploring "the relationship between politeness and violence,
from manners at European courts to the recent boorishness found
in the media and entertainment industries, via interaction with
a musical, catapulting environment of insult, obstacle and challenge."
If Rachel Rosenthal thinks she can handle all this in a solo,
imagine what she can do with her whole company.
The Rachel Rosenthal Company presents Timepiece
at 8 p.m. Saturday, April 24, at UA Centennial Hall, University
Boulevard east of Park Avenue. Tickets for this UApresents
show cost $20. For reservations and information, call 621-3341.
There will be a free discussion of modern performance art before
the show, beginning at 7:15 p.m. in the Center for English as
a Second Language, Room 102, at 1100 E. North Campus Drive. The
audience will also have an opportunity to meet the artists after
the performance.
As part of a week-long Tucson residency, Rosenthal will also
lead a free, video-assisted presentation of her work Thursday,
April 22, from 5:30 to 7 p.m. in CESL Room 102.
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