rants, reports, raves, and embarrassments from eric trules

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theater

“Be Here Now” – The Impermanence of Live Performance

I became an artist from a need deep inside—to find my voice, to express something I didn’t yet know, to explore, to explode, to rebel, to find my…self. I first became a modern dancer in the early 1970s, rejecting 15 years of schooling where all I was encouraged to develop was my…mind. In dance, I discovered my body, my instincts, improvisation, creativity, self expression, and what it meant to become an artist. My post-college, early adulthood was entirely filled with company dance classes, sweat, injury, healing, hard work, rehearsals, community, performing for the first time, and teaching dance to make…

act three?

you know, of a play? which logically and dramatically follows its 2 predecessors: first, act one, which brilliantly sets up what’s at stake for the protagonist. followed by act two, in which the play develops with tension & suspense, as it builds in “rising” action, when finally, you have, “act 3”, the climax and resolution of the play. if it’s a good/happy ending, the play is called a comedy. if it’s a not so good, bummer of an ending, the play is called a tragedy. in either case, act 3, the “falling” action and… the end of the play. now…

me and isabelle huppert

it’s the most highly anticipated performance event of the new season. isabelle huppert in “4.48 pyschose”. the first presentation of UCLA live’s “international theatre festival” at the freud playhouse. that’s not “freud”, as in sigmund “freud”. no, this is pronounced “frood”, some impossibly obtuse and pretentious uber-european pronunciation that only the most sophisticated and in-the-know art patrons and culture vultures would venture saying aloud. the 2005 fall LA arts and culture season has already produced “dead end” at the ahmanson, the unwieldy and anachronistic dinosaur of a show that has filled the theatre’s former orchestra pit with hundreds of tons…

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