By Aaron Davis
Three Astoria residents and their theater company are spearheading a revival of Bertolt Brecht's “The Caucasian Chalk Circle.”
The theatre company Hipgnosis, based in Manhattan, was formed in the fall of 2005 when John Castro, an Astoria actor, had a chance encounter with fellow actors Julian Rozzell and David Look, who are also in the troupe.
“We found ourselves bemoaning the fact that we were running from show to show, without a coherent artistic 'center' or home for us to call our own,” Castro said.
It was then that the idea for Hipgnosis began to form. It is an acting group of about 15-20 actors, who meet regularly in the belief that artists who work together and know each other will be capable of producing art collectively, according to their mission statement.
In the latest production Astorians Demetri Bonaros and Margot Newkirk are the composer and director, respectively, joining the rest of the company in putting on the Brecht classic.
The name Hipgnosis is a reference to the British art design group that created album covers for Pink Floyd, Led Zeppelin and Genesis. Castro, a Zeppelin enthusiast, said he remembered seeing the name in his youth. When he started the company, he took it for his own and its meaning became personal to the company.
“'Gnosis' is a spiritual search that defies orthodoxy and relies on an individual's inner sense of truth. To achieve gnosis means reaching a state of enlightenment that grew out of one's own search for illumination,” Castro explained. ” 'Hip' means 'engaged,' 'current,' 'connected' and 'forward-looking.' The two seemed to fit what we were after as a group very well.”
Hipgnosis's approach to theatre closely parallels that of Brecht's. Inherent in his approach were collective and collaborative working methods as well as the idea of “verfremdungseffekt,” or “distancing effect.”
Based on its Web site, Hipgnosis believes that the viewing experience of theatre has become tainted by film and television. In an effort to reverse this, they lay everything open and remind you that you are watching a play. In this way, they encourage active thought from the audience. This parallels the Brechtian distancing effect because it prevents the audience from losing themselves passively and completely, forcing them to be conscious, critical observers.
“Brecht's interest was to create theater that encouraged active thought from the audience. Many people mistake this for a form of disengaged intellectualism, forgetting that Brecht was also fascinated by man's 'baser' instincts, and along with this, spectacle,” said Newkirk, the director. “At the heart of our production is this understanding: The audience is an integral part of the world we have created.”
“The Caucasian Chalk Circle” centers around a war-torn village in Soviet Russia that makes the decision to cede land previously overtaken by Nazis to those who would use it best, rather than those who formerly owned it. A play within the play, another aspect of Brechtian style, is then organized by the group receiving the land to celebrate the agreement.
Brecht questions commonly held social values with both wit and wisdom in this timeless story in his famous “epic theater” tradition.
“The play is unique in that it has political relevance as well as wide-ranging theatrical scope,” said Newkirk. ” 'The Caucasian Chalk Circle,' in particular, points out that the uses of power are cyclical, that the abuse of power alternates with brief moments of clarity in which good judgment is possible.”
“The Caucasian Chalk Circle” will be held at The Theatres at 45 Bleecker St. in Manhattan, with performances running from April 26 to May 11 in a limited engagement.
Performances run Wednesdays to Sundays starting at 7 p.m. with two additional performances on Tuesday, April 29, at 7 p.m. and Saturday, May 10, at 2 p.m. Tickets are $18 and can be purchased by calling 212-239-6200, online at www.telecharge.com or in person at The Theatres.
