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Creating the "Berkovian" Aesthetic
by Craig Rosen, Ph.D.

Chapter VI Conclusion

Since the late 1960s, Steven Berkoff made it a mission to spread his dramatic vision, and, in the process gained a devoted audience.  Berkoff aimed to convert what he saw as the bourgeois theatre of realism into a dynamic, presentational "total-theatre."  His concept of total-theatre fulfils his desire for a spiritual and psychological theatre which attempts to "illuminate" the text rather than "depict" it.

			Amongst his contemporaries, Berkoff fits into the category of auteur director, along with Robert Wilson, Peter Sellars, and Elizabeth LeCompte.
			Furthermore, Berkoff parallels Richard Foreman, Emily Mann, and Maria Irene Fornes, all of whom direct their original plays as well as classics.  Typically, these directors use stylized movement and choreography, manipulate speech patterns, and incorporate other art-forms into their theatre.

Moreover, Berkoff, Wilson, and Foreman share a penchant for artificially manipulating time and space in their productions.  Wilson and Foreman often slow the rhythm of their shows while Berkoff alternates between a manic, frenetic physical-energy (the visual, silent-film sequence in East, for example) and the elongated, exaggerated style of Salomé or Richard II.  In the latter two plays, Berkoff uses the legato rhythm to specifically emphasize language.  Berkoff, very much like Wilson, creates a soundscape via the performers, live accompanists, and/or pre-recorded sources.  In this manner, Berkoff uses aural effects to enhance the overall environment.  More literal parallels exist between Berkoff and fringe mainstay Lindsay Kemp, who share a heritage in mime, masks, and movement.

One prevalent theme of Berkoff's personal and professional life is his status as an "outsider" -- a persona he usually embraces, yet, at times, regrets.  Late in his career his work has become critically and commercially accepted, even if it was not always embraced; yet, he remains committed to pushing the limits of the conservative theatre establishment.  Many consider his rants against naturalism and all theatre critics to be fanatical.  In a 1993 interview with Nick Curtis of The Independent, Berkoff seethed: "Theatre criticism has got to grow up beyond the pompous, sniping scribe who sits with his big fat arse on a paper crapping on this and this and deciding to lick this one's bum" ("Words Shall Never Hurt Him" 12).  Although he despises professional critics, he uses their comments as fuel for his own creative and professional fire.  Just as Berkoff is torn between his need for critical acceptance from and disdain for those critics, he sees his polarized position in the British theatre circles as "natural."  In a 1994 interview with Allen Brown of The Sunday Times, Berkoff claimed: "The Establishment hates me but it also loves me.  Read Freud. He talks about relationships between opposites.  The more you hate something, the more you find yourself attracted to it, in a curious way" (Features n. pag).  This paradox personifies Berkoff.

Berkoff's plays often touch upon class-politics and personal issues of estrangement, isolation, and loneliness, but, his primary focus is on form as much -- if not more -- than content.  His form can be termed "experimental."  In his own plays and adaptations especially, the form frequently dictates the content -- the ultimate goal is to fuse the two into a symbiotic whole.  This experimental label is sometimes used synonymously with Berkoff's status as a "fringe" performer.  Though the two adjectives overlap, Berkoff continued his "experiments" upon the boards of the world's most prestigious, and well-established, theatres as well as those on the "fringe."  However, as Berkoff returns to the Edinburgh Fringe Festival almost annually, he is assured an audience, yet, there is a growing feeling that he is a member of the fringe-establishment.  In his review for The Independent, Thomas Sutcliffe observed that Messiah

will stand for the tendency of the plusher ends of the Fringe to offer its audience an entirely reliable product -- one polished over succeeding years but rarely re-invented. (Features 8)

Berkoff's experiments with form and content often merge with his relationship to language.  Berkoff juxtaposes the elevated form of language, verse, for example, into plays with contemporary settings.  As a director, Berkoff reconstructs language into a stylized vocal delivery, attempting to jar the audience from their typical theatre-going experience -- this technique is especially true in his Shakespearean productions and adaptations.  Though it appears that Berkoff is battling the playwright, he sees it in other terms.  Rather than battling, he believes that he is enhancing the playwright's work by making it fresh and relevant.  Much of his theatre -- and attitude in general -- is combative: a battle against the status quo.

Berkoff revives many of his productions, and, considers himself process-oriented, although he generally gears his revivals toward a product similar to the original.  He does, however, try to rediscover the script by refining the production.  Though he no longer keeps a standing repertory or formal company, he does try to work with the same actors whenever possible.  In her 1993 article in The Herald, Jackie McGlone asked Berkoff "why he has chosen to direct Salomé again?"  Berkoff responded:

Berkoff attempts to create a permanency about his productions by chronicling them in books and production journals.  He has turned out a prodigious body of work considering his roles as stage and screen actor, director, photographer, and author (playwright, production journals, novels, diaries, essayist, and other sundry works).  This oeuvre is even more impressive considering Berkoff is his own principal producer -- making him a force in all major areas of theatre production.  This need for financial and artistic autonomy causes Berkoff to take on projects he might otherwise decline, particularly acting in mainstream films.

Berkoff's identity as an actor-manager has continued to the present day.  He has embraced the world-wide-web through an elaborate internet-site [Ref 6-1] consisting of links to reviews, curriculum vitae, biography, photographs, sound bites, contact-information (for his agents and personal assistant), personal diary, notice board, tour-dates, and a shopping area for his books and videos.  His company, East Productions, is located in the docklands of London.  His business office, supervised by his personal assistant Lisa Ahrens, is a part of his house, which overlooks the Thames River.  Recently, Berkoff began to sell recordings of his stage performances exclusively through his office and web-site.  These recordings include a video of the 1999 production of East performed at the Vaudeville Theatre in London and an audio compact-disk of selections from Shakespeare's Villains; Salomé will be available in the winter of 2001.

Berkoff does not embrace interviewers -- especially those from scholarly circles.  Berkoff originally declined to be interviewed for this dissertation -- communication via e-mail and hand-written letters were fruitless.  It took three attempts, in person, at the Liverpool première of Shakespeare's Villains, before Berkoff agreed to be interviewed.  The beginning of an interview with Berkoff is an intimidating moment.  Upon our meeting, Berkoff remarked:

His confrontational nature is immediately apparent, and, it is not until you ask a question that sparks his interest does he appear engaged in the conversation.  Although my interview was fruitful, [Ref 6-2]Berkoff declined a request for a second interview.

Berkoff considers his theatre work as larger than his occupation; he is "living his art."  Berkoff confirms this view at the end of his autobiography, saying, "They [my plays] are living embodiments of my life" (Free Association 391).  It appears that it is important for Berkoff to explain his work for not only his present fans and critics, but for those in the future.  This view is reinforced by the home page for his website titled: "Steven Berkoff: legendary actor, director, playwright, author."

Unlike Brecht and Peter Brook who wrote theoretical manifestos, the majority of Berkoff's non-dramatic writing has been autobiographical.  Whereas Brook wrote The Empty Space (1968) as a practical and theoretical analysis of theatre, Berkoff's writings are specifically about himself and his own work.  He appears to yearn for understanding and a place in history, fearing that outside criticism will outlive his personal legacy.  For this reason, Berkoff chronicles his work in production journals, as a living history of his plays.

Berkoff's fractured up-bringing and adult relationships magnify his desire for a strong ensemble.  He considers a cast to be a family, or a gang: a group of people there to support each other.  Berkoff enjoys the camaraderie that emerges amongst a strong cast and does not consider the theatre process a total success if a schism emerges within the ensemble.

Berkoff's theatre is above all actor-centered.  He demands that actors create the physical environment which reduces the need for sets and props by relying upon the actor's precise control of body and voice. He believes that an imaginative use of mime, movement, and sound are all that is needed in order to create a production that appeals to the audience's collective imagination.  This is far more valuable, and theatrical, than using physical objects.  He is a man of extremes, which shows in his overstated acting approach and yet minimalist production aesthetic.

Although Berkoff usually minimizes props and sets, he liberally uses costumes, lights, and sound.  Occasionally he designs the technical aspects of his productions, but in recent years, more often than not, Berkoff employs outside designers.  He does, however, maintain a heavy-hand in the design process, evidenced by the recurring monochromatic aesthetic of Richard II, Salomé, Hamlet, The Trial, Greek, Coriolanus, and Metamorphosis.  There is a visual consistency about most of his work that establishes his original, and unique, aesthetic.

In Free Association, Berkoff writes that he has a mandate "that nothing I do should resemble anything I have done before" (3). If this mandate is literal -- he has failed.  There is a repetitiveness within his work, which, almost by definition, establishes a style.  Under a closer lens, however, it is apparent that he has pushed the boundaries within his aesthetic.  For example, Berkoff used a movement-oriented theatre with large-scale movement in shows like The Trial, Agamemnon, and Hamlet; then, still relying on movement, crystallized this technique in Greek.  Although Berkoff is synonymous with physical-theatre, his physicality can be so controlled that absolute stillness is the movement, a corollary to his contemporary Harold Pinter, whose silence is the language.

The adjective "Berkovian" (sometimes "Berkoffian") is now widely used in theatre circles.  This style is an amalgamation of many influences, including Brecht, Artaud, Le Coq, Barrault, Meyerhold, Kabuki, and expressionist techniques.  The Brechtian influence is one of form over content.  With the exception of Sink the Belgrano!, Berkoff's plays are not overtly political but are, instead, plays about the "state of society."  Though it is more difficult to locate a specific influence, the bold performances of Olivier amongst others, have been very influential on Berkoff's life and work.  Edmund Kean's influence is also very evident in Berkoff's role as actor-manager and his rebellious nature.

In the late 1990s, Berkoff's work may have begun to lose its "experimental" status by becoming canonized by other theatre artists.  Berkoff associates who continue to pay homage to his work include George Dillon and Linda Marlowe, who acted in various Berkoff productions.

Dillon, who directed the 1991 première of Brighton Beach Scumbags, is especially in a position to continue the Berkovian legacy.  In 1991, Dillon performed a Berkoff adaptation at the Edinburgh Fringe Festival to great acclaim.  At the 1992 Edinburgh Fringe Festival, Dillon performed two, short, Berkoff one-man plays, Hell and Say a Prayer for Me (neither have been published), and in 2000, Dillon performed his adaptation of Berkoff's novel Graft.  Dillon, who formed The Vital Theatre Company in 1990, directs and performs mainly in a Berkoff-influenced performance style.

Also at the 2000 Edinburgh Fringe Festival, Linda Marlowe -- sometimes called Berkoff's "muse" (Nicol Features n. pag.; McGlone 6) -- performed a one-woman show titled Berkoff's Women.  She strung together bits of Berkoff's characters much like Berkoff's own Shakespeare's Villains.  Marlowe originated many of these roles, and could also be considered an heir to the Berkovian legacy.  Berkoff encourages Dillon and Marlowe's work -- having proposed the idea of Berkoff's Women to Marlowe and offered Dillon Hell and Prayer.

The most tangible tribute to Berkoff is his popularity at the Edinburgh Fringe Festival.  There were no fewer than ten productions of Berkoff's work, mostly performed in the Berkovian style, at the 2000 festival.  This fact, unto itself, lends support to Berkoff's status as an influential artist.  With a few exceptions, however, Berkoff rarely takes interest in the work of his disciples.  George Dillon supports this notion in his e-mail correspondence:

Other theatre groups share Berkoff's notion of physical theatre, though not all are directly influenced by Berkoff.  British company Cheek by Jowl regularly casts actors who have performed in Berkoff productions, but their training under Jaques Le Coq's tutelage partially accounts for their appeal to director Declan Donnellan, rather than through their relationship to Berkoff.  Younger artists compared to Berkoff include Irvine Welsh, author of Trainspotting [Ref 6-3](which premiered at the Edinburgh Fringe Festival).  Though it very much reflects 1990s working-class youth and their drug culture (which Berkoff never pursued in his own work), ultimately, Welsh considers his work as simply plays about the state of Britain (Welsh 1), much as Berkoff's East-End plays were a quarter-century before.

Lynn Gardner of The Guardian remarks, "East and Steven Berkoff helped inspire all those companies such as Theatre de Complicité and Frantic Assembly."  Berkoff agreed, responding, "They're all watered-down versions of me" (12).  Considering that Berkoff was the most performed playwright at the 2000 Edinburgh Fringe Festival (after Shakespeare) there is no doubt of his influence on the next generation of theatre.

It is very important to Berkoff that young, vital theatre artists continue to perform his work as a symbol of rebellion:

Although Berkoff is proud of his influence at the Edinburgh Fringe Festival, there is also an aspect of ambivalence in his attitude, which The Herald's Jackie McGlone discovered in 1993:

Ever so gently you attempt to get him to talk about returning to the Edinburgh Fringe, where, after William Shakespeare, he is the most performed playwright and is thus about to go into competition with himself [. . . .] "The fringe?  No, I don't care much about the fringe," he declaims.  "I hate even the word fringe.  I'm not enamoured of being in the backwater or something, competing with 300 shows.  (2)

Although he takes pride in his appeal to young artists, Berkoff also has mixed feelings regarding the appropriation of his theatrical aesthetic.  He expressed, in 1978, that his work is too personal to be duplicated:

Berkoff would rather his plays be forgotten than banished to libraries and literary circles.  He writes plays to be performed, not merely read.  From this perspective, his plays are a blue-print for performance:

Berkoff's style will undoubtedly continue well into the future, although its title may change.  Dillon pointed out that the roots of the Berkovian have existed (grounded in Commedia dell'arte, pantomime, Le Coq, et al.) throughout history, and will continue to exist.  The general style will remain -- whether it is called "Berkovian," or "physical," or "total-theatre," is a different issue. 

Though influenced by classic Commedia dell'arte, Berkoff's version has significant differences.  Berkoff's stock-character types differ from traditional Commedia, reflecting Berkoff's socio-economic and cultural background.  Berkoff's actors do not engage in lazzi, nor do they have complete freedom to improvise.  They do, however, have freedom to improvise within the boundaries of Berkoff's specific performance structure.  Another parallel to Commedia dell'arte is the actor-oriented nature of the performance.  There is a raw energy that compensates for the lack of set, and, Berkoff embraces masks when appropriate.

Berkoff's integration into the theatre scene is clear, but a guarantee of an historical place for his legacy is not.  In essence, the issue of "a rose by any other name" is the question that remains.  Berkoff's performance aesthetic will exist -- in various permutations -- but whether it will be associated with him personally is a question for the historians of the future.  Nevertheless, it is easy to conclude that Berkoff will be an influence for generations to come.  That artists will incorporate facets of his style -- knowingly or not -- is an obvious prediction, because his work is grounded on the legacy of many famous forbears. 

Berkoff tied theatre, an art often seen as staid by his contemporaries, to the angry, youthful, punk, popular-culture of the time.  His outspoken nature created a sense of celebrity, and sometimes buffoon, but Berkoff the public figure has never been less interesting than his art.

Berkoff began his career as a quintessential "angry young man," and an outsider to the theatre establishment.  As he reframed earlier works through major revivals, he eventually did reach a level of acceptance by critics and major theatre companies.  Recently, Berkoff's work has become more spiritual -- all three plays in his latest volume deal with religion and ritual.  After sixty-plus years as an outcast, Berkoff appears to be looking inward by completing projects he began earlier; he is examining who he has become and where he may be going, in a larger, philosophical sense.

Berkoff closes Free Association, which he wrote in 1991, by confiding:

In the year 2000, Berkoff directed a new production at the Edinburgh Festival, published a volume of three new plays, released a book of essays and observations (Shopping at the Santa Monica Mall), a new production journal (Richard II in New York), and continued to tour Shakespeare's Villains.  While it is impossible to predict the future, it seems clear -- despite the prophetic statement in his autobiography -- that Berkoff will continue to carve out his niche, in an attempt to secure his place in theatre history.

CREDITS, CONTENTS, BIBLIOGRAPHY and REFERENCES

CREDITS

This dissertation is copyright © Craig Rosen 1988 and is reproduced on the site with the kind permission of the author.  The details of the dissertation are:

CONTENTS

BIBLIOGRAPHY
Works Referenced (R) or Consulted (C)

REFERENCES

References Chapter 2

[2-1] yob: A rowdy, destructive youth; a hooligan or ruffian. www.dictionary.com

[2-2] Edmund Kean (1787-1833) was one of the first major British stars to travel to the United States to perform, excelling in villainous roles such as Iago, Richard III, Shylock, and Barbarus (Marlowe’s The Jew of Malta). Rebelling against the trend of the day, which emphasized a dignified approach to acting, Kean turned heads by crawling on the stage and dirtying himself if he felt it was appropriate for the character. This style ushered in Romanticism. Kean rarely belonged to a theatre company for the final 20 years of his life, instead he would be paid to free-lance his signature roles with different companies. He became inconsistent, partially due to alcoholism and partially due to his temperamental nature; nonetheless, he was one of the highest paid actors of his time.

[2-3] The Sheriff of Fractured Jaw (1958), directed by Raoul Walsh; starring Jayne Mansfield.
[2-4] The Captain’s Table (1959), directed by Jack Lee.
[2-5] The Devil’s Disciple (1959), directed by Guy Hamilton; starring Burt Lancaster, Kirk Douglas, and Laurence Olivier.

[2-6] I was Monty’s Double (1958), directed by John Guillerman.

[2-7] In the 1955 the English Stage Company reopened the Royal Court Theatre. They focused on new work by new playwrights and exploded onto the British theatre scene with their production of John Osborne’s Look Back in Anger (1956).

[2-8] Lindsay Kemp (1939-) is a dancer, director and mime artist who trained at the Ballet Rambert with Marcel Marceau, amongst others. His first notable work premiered at the 1964 Edinburgh Fringe Festival. His style is colorful and presentational as he has worked globally and has led various companies, including the Lindsay Kemp Company.

[2-9] Jean-Louis Barrault (1910-1994) was the French actor and director who developed the concept of “total theatre." He considered the text of a play to be one element of the theatrical experience, with the director’s job to uncover all of the possibilities presented by the text. In 1940 he became a sociétaire of the Comédie Française.

[2-10] Nicholas and Alexandra (1970) was directed by Franklin Schaffner.

[2-11] In "Three Theatre Manifestos," Berkoff says that the London Theatre Group was formed around this time yet in Free Association Berkoff claims that they took this moniker during the 1973 tour of Miss Julie.

[2-12] West, Lunch and Harry's Christmas were originally published in 1985.

[2-13] “Three Theatre Manifestos” will be discussed further in chapter 2.

[2-14] Berkoff's role opposite Daltry is consistent with his many ties to rock music; Berkoff is compared to Johnny Rotten (John Lydon) of The Sex Pistols (O'Reilly 4); has acted opposite Prince in Under the Cherry Moon and David Bowie in Absolute Beginners. Pete Townshend of The Who introduced Berkoff to his original publisher, Faber and Faber, and wrote the introduction to Berkoff's published script for West. In 1997, Berkoff recorded lyrics to be included in N-Trance's song The Mind of the Machine.

[2-15] Octopussy (1983), directed by John Glen; starring Roger Moore.
[2-16] Outland (1981), directed by Peter Hyams.
[2-17] Beverly Kills Cop (1984), directed by Martin Brest.
[2-18] Rambo, First Blood, part II (1985), directed by George P. Cosmatos.
[2-19] Transmutations (1985), directed by George Pavlou.
[2-20] Revolution (1985), directed by Hugh Hudson; starring Al Pacino.
[2-21] Under the Cherry Moon (1986), directed by Prince.
[2-22] Absolute Beginners (1986), directed by Julian Temple.

[2-23] Kvetch was also published in 1986, along with Acapulco.

[2-24] The word “kvetch” is Yiddish for whining or complaining and in the context of Berkoff’s play “kvetch” alludes to the nagging doubts festering in one’s head.

[2-25] Prisoner of Rio (1989), directed by Lech Majewski.
[2-26] The Krays (1990), directed by Peter Medak.

[2-27] Controversy surrounded Berkoff’s production of Salomé. Originally produced as a collaboration between The Gate Theatre and Berkoff, Berkoff re-cast the show for the London performances. He claimed that was part of the original agreement (Free Association 359-360); Michael Colgen of The Gate denies this claim. Irish theatre circles accused Berkoff of stealing the production for personal gain (Stage and Television, "Berkoff Closes Door" 2).

[2-28] In November 2000, Berkoff will publish a new production journal, Richard II in New York. This book has not been released as of this writing.

[2-29] Fair Game (1995), directed by Andrew Sipes.
[2-30] Another 91/2 Weeks (1997), directed by Anne Goursard.
[2-31] Legionnaire (1999), directed by Peter MacDonald, starring Jean-Claude van Damme.
[2-32] Rancid Aluminum (2000), directed by Edward Thomas.

[2-33] Messiah is slated to transfer to London's West End in 2001.

References Chapter 3

[3-1] Jacques Copeau (1879-1949) founded the Théâtre du Vieux Colombier in Paris. Copeau became the primary figure in French drama in the early twentieth-century, changing the direction of European theatre by moving away from the naturalism of his predecessor André Antoine. In 1923, he founded an acting school in which he integrated mask and mime work into his acting training. Although Copeau was dedicated to exploring the text, he used all possible means as director to reveal an underlying message.

[3-2] Étienne Decroux (1898-1991) was a student of Copeau. He taught at Charles Dullin's theatre school (where Barrault would study), opening his own school in 1941. Decroux's mime moved beyond depicting scenes in a literal form, and, instead, he developed corporeal mime which used the actor's entire body to express an inner truth to transcend traditional pantomime. Decroux is credited for developing the first codified vocabulary for mime.

[3-3] Jaques Le Coq (1921-1999) began his career as a physiotherapist and later became a choreographer, director, and finally teacher. Le Coq saw mime as an entranceway to other forms of drama, and encouraged his pupils to experiment with all forms of performance, believing that mime alone becomes "sclerotic formalism or mere virtuosity" (quoted in Lust 103). He encouraged improvisation, masks, buffoonery, and clowning. Le Coq is the most important and direct influence on Berkoff's performance style.

[3-4] In a later e-mail correspondence, Dillon clarified this definition: "The commedia reference was really a lazy way of saying I think what Steven does is universal and timeless" (11 October 2000).

[3-5] "Lecoq" and "Le Coq" are often used interchangeably. I have chosen "Le Coq" for my own analysis.

[3-6] It should be noted that neither Lust nor Leabhart mention Berkoff in their books even though Berkoff was well-established by the time both books were published.

[3-7] In Baryshnikov's portrayal, his heavy Russian accent presented some problems. However, it also added eastern European flavor that echoed Kafka's background. Kevin Kelley of the Boston Globe complained of Baryshnikov: "He speaks in a pinched, parched cartoon voice, which is so naturally accented it's difficult to understand" (27). William Littler of the Toronto Star did not have the same problems, writing: "Since Metamorphosis reflects Eastern European ethos, the accent poses no special problem in his present assignment, although it does sound decidedly at odds with the mid-Atlantic accents of the other members of the cast, including the actors playing Gregor Samsa's mother [Laura Esterman], father [René Auberjonois] and sister [Madeline Potter]" (10).

[3-8] See Chapter Five for a more detailed analysis of Berkoff's aesthetic concerning visual elements.

[3-9] In the 1971 production with students at RADA, Jonathan Pryce played the title role.

[3-10] Though a valuable source of insight to his theatre practices, I am Hamlet is also a stilted defense of the production the British critics panned. Written ten years after Hamlet opened, the scathing British reviews obviously made a substantial impact on Berkoff.

[3-11] In 1988 Mark-Anthony Turnage adapted Greek into an opera. He stayed true to Berkoff's original dialogue.

[3-12] In Dahling You Were Marvellous, Berkoff makes a passing mention to a New York critic named "Frank Bitch."

[3-13] Although this monologue contrasts with Berkoff's aggressive, and sometimes misogynist views, it should be noted that this passage also objectifies women.

[3-14] "Berkoff's Stage Directions" and "Dialogue" are quoted directly from the original script of East which reflects the 1977 production, published in Collected Plays I (7-11). The actual "Description" is of the 1999 British revival which was performed without significant alterations to the 1977 published text.

[3-15] Berkoff cast Mum in drag in the 1975, 1977, and 1999 productions of East. Berkoff cast a man to perform this female character to indicate a lack of sexuality from being worn down by life. In West (1983), East's sequel, Mum was portrayed by a woman. Berkoff himself dressed in drag for his 1997 production, Massage; this was an over-sized, caricatured portrayal of a female character, completely different in tone to the cross-gendered performance in East.

[3-16] "Quite a nice change to go out again" does not appear in the original script for East.

[3-17] Berkoff did include a small cockney glossary in his script and in the program of the 1999 production.

[3-18] Berkoff's overall relationship with his cast will be analyzed in more detail in Chapter Four.

References Chapter 4

[4-1] The first production of Agamemnon (1971) used students at RADA; later, he continued to experiment on Agamemnon with The London Theatre Group.

[4-2] Berkoff uses ethnic generalizations regarding African-Americans, Germans, Israelis, Irish, gentiles, Jews, and Britons in his plays and his narratives.  Examples are plentiful in Coriolanus in Deutschland, Free Association, and Meditations on Metamorphosis.  Berkoff responds to charges of racism in Allan Brown's 1994 article in the Sunday Times: 

"It's a cretinous generalisation to claim that my work is brutal," he says.  "I'm not a brutal person.  Far from it.  I'm suffused with a love of the human spirit and the commonwealth of mankind.  But there are times when art must be racist or sexist or classist. [. . .] I don't have time to pander to the mewling idiocies of political correctness."  (quoted in Features n. pag.)

References Chapter 5

[5-1] Vsevelod Meyerhold (1874-1940) was a Russian director who formed the constructivism movement.  Meyerhold believed that the director was the primary force in a production.  His use of the actor and setting is especially prevalent in Berkoff’s work.  Meyerhold’s set functioned as a machine or platform for the actors more so than a realistic representation of location. 

[5-2] When Berkoff refers to the productions originally conceived  by The London Theatre Group (the Kafka plays, Agamemnon, Hamlet, etc.), he uses the plural-possessive “we” in terms of the aesthetic choices.  This signifies a group decision as opposed to the authority Berkoff later gained as director, which he clearly communicated to the official “designer.”

[5-3] The screens and chairs were increased to twelve for the 1991 revival.

[5-4] The rose and table were not used in every performance.

[5-5] The program for The Fall of the House of Usher (1977) at the Royal National Theatre did not include a set or costume designer.

[5-6] For the purpose of this section, I will refer to “make-up” when employed in the function of a mask; that is, to cover the face beyond a cosmetic application to simply highlight and define an actor’s features.

[5-7] These masks also provided an element of spectacle, similar to Peter Shaffer’s Equus (1973), which was also playing in London.  Coincidentally, John Dexter, who previously directed Berkoff in Arnold Wesker’s The Kitchen also directed Equus, which Claude Chagrin, Berkoff’s mime teacher at the City Literary Institute, choreographed.

References Chapter 6

[6-1] www.east-productions.demon.co.uk (link has gone)

[6-2] See appendix for a full transcript.

[6-3] Trainspotting was originally a novel written by Irvine Welsh.  Harry Gibson wrote and directed the adaptation for stage (1995).

© Craig Rosen 2000

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