Osburnt: Dispatches From a Life Seared by the Arts

  • Ubu roi

    Ubu roi

    Cheek by Jowl’s UBU ROI is a brilliant contradiction. It is austere and messy, infantile and wise, ego and id, beautiful and repulsive. It hangs together and falls apart. Lasts long and ends soon. Grosses out and achieves epiphany. It is not to be missed and – no, it is not to be missed. Not,…

  • The Killer

    The Killer

    The Bérenger plays of Ionesco – in which an ordinary man finds himself in a variety of situations – are what they are, but it can be illuminating to consider them in terms of artistic and literary movements. I tend to agree that they don’t exactly qualify as existentialist or absurdist. It is, granted, pretty…

  • Rhinoceros

    Rhinoceros

    What makes me the most glad to have seen the Théâtre de la Ville revival of Ionesco’s RHINOCEROS were the faces of the rhinoceri hovering in the air, with their beautiful sad eyes, sweet and brutish at the same time, animal yet with a germ of sympathy for the human. In the possible world of…

  • Gezeiten

    Gezeiten

    GEZEITEN is directed and choreographed by Sasha Waltz, performed in two parts, and much of it in silence. The style of this dance theater piece is at first abstract, then a sort of deconstructed Naturalism that devolves into a post-apocalyptic Absurdism born of the truth that, having survived, it is the nature of human beings…

  • Exit the King

    Exit the King

    The Broadway revival of EXIT THE KING is an opportunity to revisit Ionesco‘s absurdist critique of the logical fallacies of political power and entitlement, even if, in this adapted version, the topical references are strained and overly obvious. Of the two leads, Geoffrey Rush comes off best. His mannerisms have always struck me as a…