By Michael Romain

From Amazon: "Jonathan Miller is without doubt one of the most crucial administrators of theater and opera at the present time. Written with Miller's complete cooperation and with entry to rehearsals, this can be the 1st ebook to discover his paintings intensive. Michael Romain examines this crucial occupation in theater via a chain of interviews with Miller and his collaborators. it truly is infrequent director is prepared or in a position to talk about his craft and rarer nonetheless to discover colleagues who can recount their impressions of rehearsals and productions. in spite of the fact that, in a chain of conversations with actors, conductors, designers, singers, administrators, and writers, a desirable portrait of Miller emerges. The publication is split into 3 sections, starting with an creation that units Miller's paintings within the context of latest ecu theater. half is an interview with Miller, protecting such issues as his occupation, operating tools, issues of concept and perspectives of present theater and opera. half 3 is a suite of conversations with artists together with Zubin Mehta, Roger Norrington, Dudley Moore, Max von Sydow, Terry palms, John Cleese, Frank Langella, Roger Daltrey and Jack Lemmon. the amount additionally incorporates a whole chronology of Miller's paintings in theater, opera, tv, and movie, together with details on impending productions, in addition to various images from productions. Michael Romain has written literary and drama feedback for guides in Britain and the United States."

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Disconnected information, dismembererd persons without identity, fragments of memo ries, fragments of music are remembered and assembled as in a jig-saw puzzle, creating an image of our world. And what we behold in that image is a society that has spun itself into networks of security which insulate it against reality. From the point of view of this self-absorbed society reality cannot be experienced anymore but is mediated, in the hands of demons, if you will. Access to reality is reserved for highly skilled specialists.

And thus the past is remembered and comes alive in the mind of Stubbs as he gladly embraces and readies himself for the “friendly fire” (31) which was the defining way of becoming a hero in the war in the Gulf. And accordingly the play ends with a previously divided society united in a song, celebrating the resurrection of Stubbs who draws the sword and stands up against the Colonel. 1 So much for a very rudimentary first interpretation of the play based on Shepard’s account. To be sure, it disregards entirely the roles played by the two percussionists, by the White Couple, and by Glory Bee, waitress in the family restaurant where the Colonel and Stubbs rehearse a war that is equally of the future and present as of the past.

Costume: Peter Brower. Left to right: Rainer Piwek (Stubbs), Markus Graf (Weisser Mann), Martina Struppek (Weisse Frau) and Harmut Lange (Colonel). Copyright Guido Kasper. 38 CAROL ROSEN Shamanism Vilified and Redeemed: Sam Shepard’s States of Shock Alfred Nordmann and Hartmut Wickert Sam Shepard’s “vaudeville nightmare” States of Shock turns a family restaurant into a battlefield as the Colonel and Stubbs rehearse memories and anticipations of war. The dismembered body of Stubbs is virtually remembered in the course of the play.

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A Profile of Jonathan Miller by Michael Romain

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