Ciro Guerra

ArtsWatch Weekly: whale of a week

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

The history of art, in a way, is a history of obsession. And who is more obsessed than Captain Ahab, feverish hounder of the great white whale? Herman Melville, perhaps, creator of the novel Moby-Dick, or, The Whale, and thus creator of the monomaniacal Ahab. Or Orson Welles, the mad genius of the cinema, who attempted to latch on to Melville’s harpoon and ride it to obsessive triumph in an unlikely stage adaptation of a novel that might be both untamable and unadaptable. Or, maybe, Scott Palmer, the adventurous artistic director of Bag&Baggage Productions, who’s taken Moby Dick, Rehearsed, Welles’s obsessive adaptation of Melville’s obsessive novel, and brought it to the B&B stage. In his fascinating (and in its own way, obsessive) review of B&B’s production, ArtsWatch’s Brett Campbell quotes Palmer on the book that started it all: “Moby-Dick isn’t a novel, it is an entire imaginative world. It is massive, bulky, colossal, terrifying, majestic and ultimately unfathomable. It is the physical representation of one man’s will, one artist’s transcendent vision, an entire internal universe externalized …”

Bag&Baggage's magnificent obsession. Casey Campbell Photography

Bag&Baggage’s magnificent obsession. Casey Campbell Photography

Giant whales and such, as Brett points out, have been something of a communal obsession in Portland lately, from Portland Experimental Theatre Ensemble’s season-long serial [or, the whale] to Portland Story Theater’s The Essex, the Northwest Film Center’s Welles-fest, a reading of excerpts from the novel at Portland’s Mother Foucault’s bookshop, and the musically adventurous AnyWhen Ensemble’s Moby-Dick inspired Boldly Launched Upon the Deep.

And how does this magnificent obsession (or cascade of obsessions) work out? Campbell writes: “Neither Ahab nor Melville nor Welles nor Palmer let the challenges of their tasks daunt them. Ahab caught his prey, but it cost him his life and those of his crew. Melville’s novel was widely regarded as a crazy failure in its time, and its overabundance of non-dramatic material still repels many readers. Welles’s misguided attempt to turn so inward-gazing a novel as Moby-Dick into compelling stage drama amounted to hunting a white whale; as Palmer acknowledged in a pre-show talk, it’s perhaps a good thing that Welles devoted himself to filmmaking rather than playwriting. In nevertheless choosing to stage Welles’s whale folly (in his centennial year), Palmer again plays the white knight, this time trying to save the white whale. Does he catch the object of his obsession in this new production and redeem Welles’s hubristic vision? Like the others, it’s a foredoomed, magnificent failure that, if you can stick with it long enough, you ultimately can’t let go of.”

America is, of course, a land of magnificent attempts and magnificent failures, which makes this whole thing seem so, well, American. It’s like a magnificent stab at the great American production of the great American adaptation of the great American novel: Who needs perfection when you’ve got a series of obsessions the size of a great white whale?

 


 

Vin Shambry (left), Chantal De Groat, and Chris Harder in "We Are Proud To Presnt ..." Photo: Owen Carey

Vin Shambry (left), Chantal DeGroat, and Chris Harder in “We Are Proud To Present …” Photo: Owen Carey

America is also obsessed with race, and the great stain of its racial history, which continues to trouble and obsess us in everything from policing to housing to job opportunity to our political campaigns, where it is sometimes used like a hidden (or not so hidden) persuader of fear and loathing. ArtsWatch’s Barry Johnson delves into this not-so-magnificent American obsession in his review of Artists Rep’s new production of We Are Proud To Present a Presentation About the Hero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915, Jackie Sibblies Drury’s smart and searing play about race, and our continuing difficulty in talking about it honestly, often even when we have the best of intentions. “We Are Proud to Present is a scorpion of a play,” Johnson writes, “and its tail packs a serious punch made all the more deadly by the light tone of the beginning.”

 


 

Tamisha Guy and Vinson Fraley Jr. in Kyle Abraham’s ‘The Getting’. Courtesy White Bird, © Jerry and Lois Photography All rights reserved http://www.jerryandlois.com

Vinson Fraley Jr. and Tamisha Guy in Kyle Abraham’s ‘The Getting.” Courtesy White Bird, © Jerry and Lois Photography. All rights reserved. http://www.jerryandlois.com

And while we’re on the subject: In Kyle Abraham dances about race, Nim Wunnan writes for ArtsWatch about the dance troupe Abraham.In.Motion’s canny and provocative performance in the White Bird series, a trio of works rooted in hip-hop, modern, and contemporary dance. The show “confidently and gracefully engaged both historical and very immediate issues of race and the individual’s place in this culture,” Wunnan says, and adds: “We start to understand in this work that certain movements and positions are almost exclusive to black bodies in this culture. And we rightly start to feel uncomfortable in our seats, notably when the usually vibrant and fluid [Tamisha] Guy sinks to the floor with a leaden exhaustion, face down, with her hands behind her back in an unmistakable position of submission, of arrest. The one Oscar Grant was in when he was shot point blank in the back.” Grant, in case you’ve lost track amid the the seemingly endless string of “incidents” involving police and black citizens, was slain by a Bay Area Rapid Transit policeman in the early hours of New Year’s Day 2009 in Oakland.

 


 

Heath Koerschgen and Danielle Weathers in "Davita's Harp." Photo: Friderike Heuer

Heath Koerschgen and Danielle Weathers in “Davita’s Harp.” Photo: Friderike Heuer

A few things to keep in mind on this week’s calendar:

Davita’s Harp. The Jewish Theatre Collaborative has been preparing all season for this world-premiere adaptation (by Jamie M. Rea and director Sacha Reich) of Chaim Potok’s 1985 novel about a contentious family in the New York of the 1930s, as the world is churning toward disaster. Opens Saturday; through April 9 at Milagro Theatre.

Arvo Pärt and The Ensemble. Justin Graff gets us all in the mood for the notable chamber and vocal group’s weekend performances of the mesmerizing music of Pärt, “one of the world’s greatest living composers.” And in A Pärt Pilgrimage, Graff gets considerably more personal, telling the tale of his journey to Talinn to meet the master, of sharing chocolates,  and a session at the keyboard. All pilgrimages should be so rewarding. The performances: 7 p.m. Saturday at Eugene’s Central Lutheran Church; 4 p.m. Sunday at Portland State University’s Lincoln Recital Hall.

Northwest Dance Project. The Portland ensemble’s newest concert is called Louder Than Words, which might be appropriate, because it’s been raising the roof lately with performances in New York and elsewhere. A new work from the company’s talented resident choreographer, Ihsan Rustem, plus one each from artisitic director Sarah Slipper and Brazilian dancemaker/filmmaker Alex Soares. Newark Theatre, Thursday through Saturday.

 


 

 

ArtsWatch links

 

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

 

Wangechi Mutu and the revolt of the female form. Grace Kook-Anderson looks at 511 Gallery’s Northwest premiere exhibition of this post-colonial, feminist, New York-via-Nairobi artist. “Mutu’s women are distorted figures, hybrids of animals and natural elements, bodies that are capable of great force,” she writes.

Michelle De Young: heavy going. What happens when a Wagnerian powerhouse of a voice meets an art song in recital? Katie Taylor went to the acclaimed singer’s Friends of Chamber Music concert and found the combination of voice and material sometimes disconcerting.

Oscar nominee Ciro Guerra: an interview. Erik McClanahan talks with the Colombian-born director of the foreign-language nominee Embrace of the Serpent. Bummed that he didn’t haul home an Oscar? “We were kind of relieved we didn’t win,” Guerra said. “There was a favorite going in and it’s great not to be the favorite. It can be a lot of pressure. Even winning can be a lot of pressure. So we just made the best of it and enjoyed it.”

Toxic glory: Heathers: The Musical. Christa Morletti McIntyre takes a look at the ’80s glory that was the cult teen movie, and the new glory of its musical-theater adaptation, which is is getting a slam-bang co-production from Triangle and Staged!

Born to run (and to film): Wim Wenders, continued. Marc Mohan looks at more of the Northwest Film Center’s fascinating series by the German director. This time around: Paris, Texas; Kings of the Road; The American Friend; The State of Things.

In Mulieribus: hours well spent. Bruce Browne celebrates the “happy marriage” at Mt. Angel Abbey of the outstanding choir’s Renaissance music and exquisite projected art from a medieval book of hours.

Last chance: Jacques Rivette’s twelve-hour Out 1. The French New Wave director’s ambitious, audacious, half-a-day opus has rarely been seen in the past forty-five years, but the Northwest Film Center’s been showing it, cut into digestible segments. Marc Mohan pays his respects.

Bullshot Crummond rides again. Lakewood Theatre’s world-premiere production of the latest Crummond comedy, a sequel to a 1970s parody of the old Bullshot Drummond British adventure series, revels in an old-fashioned sort of fun, Christa Morletti McIntyre writes.

Bolai Cao: abundant talent. It was a propitious meeting at Portland Piano International, Jeff Winslow writes – the rising young pianist Bolai Cao performing a new work by the veteran Oregon composer Bryan Johanson, a piece created in homage to Domenico Scarlatti.

Hello, My Name Is Doris: Sally Field talks about her new movie. ArtsWatch’s Marc Mohan chats with the two-time Oscar winner about her latest turn, as a “socially inept, eccentrically clad” office worker who develops a crush on her younger boss. “Some people have called it a love story, but I think it’s a coming of age story,” she says. “The challenge of being a human being is will we open up to every different stage of our life?”

Johanson and Prochaska: media speak. Borrowing from Marshall McLuhan’s famous dictum “the medium is the message,” Paul Sutinen looks at new shows by veteran painter/printmakers George Johanson and Tom Prochaska and declares the medium does matter.

 

Tom Prochaska, "Hillside Nevada," 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

Tom Prochaska, “Hillside Nevada,” 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

 


 

About ArtsWatch Weekly

We send a letter like this every Tuesday to a select group of email subscribers, and also post it weekly on the ArtsWatch home page. In ArtsWatch Weekly, we take a look at stories we’ve covered in the previous week, give early warning of events coming up, and sometimes head off on little arts rambles we don’t include anywhere else. You can read this report here. Or, you can get it delivered weekly to your email inbox, and get a quick look at all the stories you might have missed (we have links galore) and the events you want to add to your calendar. It’s easy to sign up. Just click here, and leave us your name and e-address.

 


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INTERVIEW: Ciro Guerra, Writer/Director Of Oscar-Nominated ‘Embrace Of The Serpent’

The Colombian filmmaker talked with our critic about his films, what makes for great cinema, the amazing locations in 'Serpent', his Oscar experience and more

Ciro Guerra is having a good month. The Colombian-born filmmaker recently attended his first Oscar ceremony, where his newest film, “Embrace Of The Serpent,” was nominated in the foreign language category (it lost to “Son Of Saul”). Beyond being a personally momentous occasion for the young writer/director, who celebrated his 35th birthday in February, the Academy Award nomination was the first ever for his native country.

Describing his experience at the ceremony as “quite fun and quite crazy” during our interview on Skype, he says the Academy made them feel welcome and that he was thankful to meet so many people in the industry he’s admired for a long time. “We we’re kind of relieved we didn’t win,” he said. “There was a favorite going in and it’s great not to be the favorite. It can be a lot of pressure. Even winning can be a lot of pressure. So we just made the best of it and enjoyed it.”

I really can’t praise “Embrace Of The Serpent” enough. It’s one of those films that captures the imagination with a grip that doesn’t loosen until the credits have ended. Make sure to seek out the film when it opens exclusively this Friday at Living Room Theaters. Its two-pronged narrative ping-pongs back and forth (sometimes in the same unbroken take) between events 40 years apart in the life of Karamakate, an Amazonian shaman and the last survivor of his people. He encounters and travels with two scientists, one inspired by the other to search the Amazon for a sacred healing plant. (While by no means a “true story,” much of the film is inspired by the diaries of German Theodor Koch-Grunberg and American Richard Evans Schultes)

The black and white visuals, druggy hallucination sequences, performances, and a killer soundtrack—ancient tribal music mixed with the natural cacophony of the jungle—all make for an incredibly immersive, funny and beautiful rumination on dying, colonialism and being the last of one’s kind. It’s truly a film to go get lost in at the cinema.

Guerra, whose previous film, “The Wind Journeys,” is also highly recommended (I was able to rent the DVD at Movie Madness in fact), was generous with his time over Skype, talking with me for more than 40 minutes. Suffice to say it was fairly in depth, focusing mostly on his latest film and his work overall, but also making room to talk about what makes for great cinema (you know, the kind you see at an actual movie theater), the gorgeously epic Amazonian locations where they shot ‘Serpent’, and much more. Below are a few excerpted highlights from our chat. If you’d like to hear the entire interview, you can do so by streaming or downloading the embedded podcast below.

the-new-film-embrace-of-the-serpent-conjures-a-forgotten-indigenous-vision-of-the-amazon-1452186262-crop_mobile

one of many memorable images from “Embrace of the Serpent”

“Embrace Of The Serpent” is filled with so many great, memorable cinematic sequences. In particular, the moment when you link both storylines from different time periods in one fluid take.

In the early versions of the script, it was a very Western script in the way everything was explained and all the dates and locations were perfectly clear. Then I started working with the Amazonian people, and I realized their conception of time is completely different. Film is essentially a medium of time. That’s the clay we work on with cinema, it’s made up of fragments of time. I realized what would make the movie special and unique would be that it was told from that perspective. And that included this different understanding of time, that time is not a linear sequence, which is how we are taught to experience it. Amazonian people, and shamans especially, see it more as a simultaneous multiplicity. Which is funnily extremely close to the way quantum physicists define time.

So I wanted the film to be an expression of that. In Amazonian storytelling past, present and future intertwine and dialogues mirror each other. As the process of research went on the film became more and more imbued with this Amazonian spirit and way of storytelling. So I thought if we could create links between different times, to make them appear to be simultaneous, it would be close to the spirit of the Amazonian people. 

So the idea for the two-pronged narrative, is that also how that came about? To put the audience in the mindset of Karamakate? 

Yes. The main thing about the film is that the point of view is from the shaman. This story has usually been told from the explorers’ point of view. So we really needed to flip the story on its head. When you switch the point of view you realize that history has been told in a very one dimensional way. I think that is something cinema can do. It really can make you experience the world from a particular perspective. The perspective of Amazonian people is very difficult for us to understand and get into it. This film is an attempt to build a bridge between the storytelling that we know and can understand, and their storytelling which for us at first can be incomprehensible. This film needed to be accessible for anyone. It would have been dishonest to make this a cryptic film for a small [art film] niche.

embrace1

“Embrace Of The Serpent”

Watching the film is an incredibly immersive sensory experience. I think that’s really important for cinema today. Since most people are happy to watch everything on their TVs, computers or phones, it’s more important than ever that a film deserves to be up on a big screen to get people out of their house and going to the theater. “Embrace Of The Serpent” is truly a big movie and belongs there. 

I agree totally with you. I think the cinema should be an experience. The effect that cinema can have on the senses is something I think no other art form can come close to it. For me it’s always very important that the films… that you can really feel where you are. They have a strong sense of place. And the tools of cinema allow you to do that, to put you in there.

The sound design and overall look of the film is incredible. Can you talk about some of those sensorial elements and how you conceived and executed them? 

The sound design is the creation of Carlos García, a brilliant sound designer. We had this concept of creating a trance-like state through the sound. Using the sounds of nature and its frequencies in a way that would take the viewer in a trance like, or a spiritual state. It’s the state that Amazonian people use to tell their stories. You are sort of elevated by the sound. You do that only using the frequencies of the natural environment. That creates a feeling that can only be experienced completely in a cinema.

The look of the film [cinematography by David Gallego] is inspired by the images the explorers took during their travels. When I went there I realized it was not going to be possible to portray the colors of the Amazon on film. Especially what they mean to the people there. These are people who have 15 words for what we call green. I thought this way we could trigger the audience’s imagination. The Amazon that you see in the film is not the real one, it’s an imagined Amazon. But that imagined Amazon is certainly going to be more real than what we could portray.

“Embrace Of The Serpent” opens at Friday March 11 at Portland’s Living Room Theaters. Advance tickets are available now. 

 
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