Mood:

Now Playing: Anything You Can Do, I Can Do Better...
I'm sorry. I waited for Arthur Horowitz's book "Prospero's True Preservers" for like, ten months, and it arrived in the library last Wednesday. Two days before I handed in my dissertation. I have now gone through the entire thing, and I am not impressed.
He admits he knows no Japanese (and demonstrates little knowledge of Japanese theatre) and his chapter on Ninagawa (the reason I was reading his parvum opus in the first place) was singularly unimpressive. Totally not worth the wait.
While I'm still unsure whether I want to do a PhD, I really want to write a book about Ninagawa, especially since yet ANOTHER book has been published with inappropriate comments written by someone who really doesn't understand what they're talking about. Case in point - Horowitz describes early Ninagawa productions with titles like "Hearty but Flippant" and "Fickle, Frivolous and Sincere", and mentions 'another' productions where 'the actors entered the auditorium dressed as riot police. The audience was convinced that the police had come to arrest them, and, as the curtain came down, they attacked the actors'. What Horowitz doesn't realise is that these three points are all about the same play, usually translated as 'Hearty but Flippant' or 'Sincere Frivolity'. Which ended as he described. Duh...
And while we're on the subject, why the hell didn't David Bradby TELL me he had written a chapter on Ninagawa's 'Waiting for Godot' in his production history of the play? Would it have hurt him so much to BRAG about the fact that he'd written on it? I'm so tempted to send him a list of corrections for his article, and to fill in the numerous gaps in his information. But that would be bad karma...
Off the the British Museum tomorrow morning. Tons of fun.
:-D
Written by Conor
at 5:45 AM KDT