Judith Malina: 1926-2015.
I can hear that vibrant tremor in Judith's voice that stayed with her till the end as she charged across a crowded room and took me into an embrace, saying, "I finished your book at 4 a.m. and I feel so close to you." It was 1972 at a women's theatre weekend at the Quaker Meeting House in Gramercy Park. My People's Theatre had just been published, with chapters on the Federal Theater, the Living, the Open, and Bread and Puppet. Judith ferried me across the bridge and we marveled at the lights on the river; every journey with Judith was always a chance to marvel, for life with her was forever an improvised show.
We ended up at St. Felix Street in Brooklyn, now lined with renovated brownstones, then a slum where Harvey Lich-tenstein housed the Living company, while across the street, in what is now the chic BAM cafe, they rehearsed The Money Tower play for performances outside factories in Pittsburgh. Julian stood in the kitchen in Indian tunic and flip-flops, stirring a pot of vegetarian chili.
Today as I write--the day after her death at 88, on April 10--her ardor and her exhortations to carry on one's art, to feel vibrant and alive, remain as a goad not just to me but to all the artists over the years I met through her: graphic designer Luba Lukova; scholar/director Cindy Rosenthal; actor/director Lois Kagen; my collaborator and husband, George Bartenieff, who acted with Judith at Piscator's Dramatic Workshop as a child, was in the original Brig and starred in my play Us in 1987, which was the first scripted poetic play Judith directed after Julian's death; playwright Hanon Reznikov, Judith's beloved second husband and longtime codirector; Tom Walker, who with Brad Burgess and Garrick Beck, Judith's son, will now direct the Living; and many others, including Joe Chaikin, Al Pacino, Shirley Clarke, Martin Sheen, Jack Gelber, Warren Finerty, Steve Ben Israel and Jenny Hecht.
If Judith (or Julian, or better, both) were to choose you, they embraced you completely; your work to them was a blessing to be cherished, and though you might argue aesthetics fiercely, they never judged. We talked endlessly; she held forth on politics, poetry, history, the great writers, many of whom she knew: Pound, Auden, Genet. Being in her presence was a hint of the "beautiful, nonviolent anarchist revolution" Judith spoke of so often--a world of commonality, yet deeply individually driven; a world of shared yet distinctive visions and bold, uncompromising actions; of intellectual rigor; plus a great deal of laughter.
Judith's productions had a wild blend of alarming amateurism and astonishing skill. She worked with characters off the street and put them seamlessly into plays featuring the highly trained. Her ability from early on to bring strange combinations of alluring personalities into the world of her vision contributed, too, to the hypnotic effect of her strongest work.
In rehearsal, Judith electrified with brilliant talk. She told stories from her life that felt at first tangential to the play but worked their way into the actors' psyches. She staged The Connection as a loopy heroin high with junkies, actors and jazz musicians; The Brig with enforced militaristic rigor behind prison bars. Seven Meditations on Political SadoMasochism, made after the company's imprisonment in Brazil alongside Brazilians who were being tortured, was a witnessing drama in which, climactically, a naked man, electrodes clipped to his genitals and hung by his knees from a torturer's parrot perch, was ritually moved around the space.
In her last play, No Place to Hide, the audience completely merged with and controlled the action; personal stories were elicited one by one. Even I, who love the separation between actor and audience precisely because the audience is thereby free to imagine without having to perform, must admit that she succeeded completely in erasing the line between performer and watcher, and that her project has unalterably affected mine. For we who count ourselves among the Living are always looking for unique ways to move an audience so that they feel more deeply, and their perceptions, even their ways of being in the world, are altered.
Judith remained always a writer and a lover of language. She kept a daily diary, some of which has been published, and she also wrote peoms. "Hard Lessons" is among her last:
Learn patience first, And after patience, love, And after love The eternal joy Of having loved.
BY KAREN MALPEDE
Karen Malpede's recent plays are Extreme Whether and Another Life.
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|Title Annotation:||NEWS IN BRIEF : IN MEMORIAM|
|Date:||Jul 1, 2015|
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