Judith Malina’s “No Place To Hide”

The Living Theatre might be the longest-running avantgarde theater company in the world. In its 67th season now, founder and director Judith Malina is still going strong with a new piece that just opened in Manhattan: “No Place To Hide,” and working on another one, “The Triumph of Time,” for her fellow-actors in residence at the Lillian Booth Actors Home in New Jersey.

Here is an excellent photo essay by Gaia Squarci of Judith in action, accompanied by a text of Chelsea Matiash for the Wall Street Journal blog, as well as two photographs by theworldforacountry of the event mentioned in the blog, a work-in-progress presentation at The Whitney Museum of American Art (during the Rituals of Rented Island exhibition) of “The Chairs,” by multi-media artist and theater director Theodora Skipitares.

Judith Malina after the performance of The Chairs, a work-in-progress presented at The Whitney Museum of American Art

Judith Malina after the performance of “The Chairs”, a work-in-progress presented at The Whitney Museum of American Art

Judith Chairs 2

Theodora Skipitares in artist talk at The Whitney Museum of American Art, after the performance of “The Chairs.” In background, left, narrator Judith Malina

http://blogs.wsj.com/photojournal/2014/03/19/judith-malinas-living-theatre-to-debut-no-place-to-hide/?mod=WSJBlog Living Theatre to Debut Judith Malina’s “No Place To Hide”By Chelsea Matiash When the Living Theatre gave up its home on the Lower East Side in 2013, it appeared to be the end of an era. Unable to pay the rent, the company closed is doors and packed the bags of its ailing longtime leader, Judith Malina. Ms. Malina, the group’s co-founder and artistic director, relocated from her apartment above the performance space to the Lillian Booth Actors Home, an assisted-living and nursing-care facility for entertainment professionals in Englewood, N.J. Ms. Malina, 87, suffers from emphysema but continues to write from her new home, where members of the group visit her often. Photographer Gaia Squarci recently spent time with Ms. Malina and previewed her latest play as part of a project documenting the Living Theatre and its co-founder. Despite the struggles of the past year, Ms. Malina’s story is one of resilience, Ms. Squarci said. She described her first encounter with Ms. Malina this winter during a show at the Whitney Museum. “Judith was sitting on a chair all dressed in black, black hair lightly turning white close to the scalp, wide-open eyes and bright pink nails,” Ms. Squarci recalled. ”She looked small and frail from a distance,” but she was the center of a flurry of handshakes and smiles. “She doesn’t hide her fragilities,” she said. Since that encounter, she has followed the Living Theatre during a transitional period. The experimental company, whose performances are rooted in social change, politics and the avant-garde, is no stranger to losing its home. In the 1950s and ’60s, the group’s unconventional performances led to the closing by authorities of all the Living Theatre’s New York venues, after which it began a new existence as a touring ensemble, traveling internationally. Over the years, the company reinvented itself, presenting performances in different venues and spaces before settling at the Clinton Street Theater– its first permanent home since 1993. Ms. Malina will direct when the company debuts her new play, “No Place to Hide,” at Clemente Soto Vélez Cultural Center on Wednesday, marking the Living Theatre’s first production since losing its space on Clinton Street. The production, presented as a work in progress, explores “the reasons and consequences of hiding” and invites audience participation. Said Brad Burgess, the executive producer: “We want to help the public and ourselves confront where we’ve come from, what we’ve done to each other, and expose ways of making things better through what we do for each other.” Looking into the future, Ms. Malina said one of her plays, “The Triumph of Time,” will explore the positive aspects of aging, in contrast to “the views of society.” She said she hopes to involve other older actors living at the Lillian Booth Actors Home. Aging “is when you become who you really are and what you’ve been building up to,” she said. “You’re more complete.” Below, Ms. Sqaurci’s photographs provide an inside look at the latest work of Ms. Malina and her company.

Judith Malina sat back in her room at the Lillian Booth Actors Home in Englewood, N.J.

Gaia Squarci for The Wall Street Journal
Judith Malina sat back in her room at the Lillian Booth Actors Home in Englewood, N.J.

Ms. Malina penciled in an item on her calendar

Gaia Squarci for the Wall Street Journal
Ms. Malina penciled in an item on her calendar

Gaia Squarci for The Wall Street Journal Performers worked during a rehearsal of the Living Theatre Company directed by Ms. Malina at La MaMa rehearsal studios.

Gaia Squarci for The Wall Street Journal
Performers worked during a rehearsal of the Living Theatre Company directed by Ms. Malina at La MaMa rehearsal studios.

Gaia Squarci for The Wall Street Journal Ms. Malina is helped down the stairs following rehearsal.

Gaia Squarci for The Wall Street Journal
Ms. Malina is helped down the stairs following rehearsal.

  • Trackback are closed
  • Comments (0)

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: