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• W4244907486 abstract "Reviewed by: Coriolanus Christie Carson CoriolanusPresented on stage by the Stratford Festivalin collaboration with Ex Machina, 06 9– 11 3, 2018, and broadcast by Stratfest@Home, 04 30– 05 21, 2020. Directed by Robert Lepage with Creative Direction by Steve Blanchet and Technical Direction by Catherine Guay. Set by Robert Lepage and Ariane Sauvé. Props by Ariane Sauvé. Lighting by Laurent Routhier. Costumes by Mara Gottler. Music and sound by Antoine Bédard. Directed for the screen by Barry Avrich. With André Sills (Cauis Martius Coriolanus), Lucy Peacock (Volumnia), Alexis Gordon (Virgilia), Tom Mc-Camus (Menenius Agrippa), Graham Abbey (Tullus Aufidius), Stephen Ouimette (Junius Brutus), Tom Rooney (Sicinius Velutus), Michael Blake (Cominius), and others. French-Canadian director Robert Lepage's filmic vision dominated his production of Coriolanusat the Stratford Festival as it was seen on stage. In his review Manuel Antonio Jacquez writes, [a]ccentuated by a transforming stage space with sliding platforms, moving screens which could rise, descend, expand, and narrow, and state-of-the-art visual projections, Lepage's Coriolanuswas akin to a film adaptation performed live (111). Since that time, this production was filmed for the big screen by Barry Avrich and shown in cinemas in Canada and the US during 2019. This version of the production was made available online for three weeks from 30 April 2020 as part of the Festival's Stratfest@home program of screenings. [End Page 519]Given that the production relied on the use of filmic techniques to control the point of view of the audience, the availability of this version of Coriolanusin three quite distinct viewing environments is worthy of some consideration. The production when streamed to my home in May 2020 was stripped of context and atmosphere. However, given my experience of the production live in June 2018 and my long-standing interaction with this director's work and the Stratford Festival, my viewing of it was colored by years of experience. I have had the opportunity to watch Lepage's work on both sides of the Atlantic Ocean since 1986. As a child, I attended productions at the Stratford Festival from an early age. The coming together of Lepage and the Stratford Festival was, for me, a much-anticipated union of two of my oldest theatrical influences, but ones I had always imagined stood in contrast to one another. The textual fidelity which has been a defining feature of the work of the Stratford Festival seems in opposition to the directorial approach of Lepage and his company Ex Machina, which considers the text as just one resource amongst many that go together to create an experience of theatrical communion. However, one thing both theater companies share is a desire to create an engaged interaction with a live audience. The opportunity to review the online broadcast of the filmed version of this production seems an ideal chance to raise some key issues about the movement of productions from one environment to another. While the Stratford Festival's thrust stage has always created a physical sense of interaction, Lepage's use of filmic techniques involves the audience in a debate about theatrical forms. Jacquez acknowledges that the distancing of Lepage's filmic approach seemed an especially appropriate match for Shakespeare's Coriolanus (111). He cites Craig Walker's program note which highlights the fact that Shakespeare does not accord his lead protagonist any soliloquies (112). As with many of Lepage's theatrical interventions his approach here shifted the audience's perspective by placing the action in a series of very specific and recognizable social environments, giving the play a clarity and immediacy it often lacks. As Jacquez notes, Lepage's cinematic fourth wall made the withholding nature of this play's original dramaturgy more apparent (112). The production was filled with visual games and tricks that were designed to draw the audience into a dialogue of complicit enjoyment. When viewed live in the theater, I felt the ripple Lepage describes in the pre-show discussion videos embedded on the Stratfest@Home website (2020) of a sense of satisfaction in the audience that they were in on the [End Page 520]joke. However, I found the..." @default.
• W4244907486 created "2022-05-12" @default.
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• W4244907486 date "2020-01-01" @default.
• W4244907486 modified "2023-10-17" @default.
• W4244907486 title "Coriolanus" @default.
• W4244907486 doi "https://doi.org/10.1353/shb.2020.0054" @default.
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