Posts Tagged ‘Rebecca Mead’
In rehearsal, [Ivo] van Hove usually works steadily through the text, reaching the end of the play just before the first public performance. There are occasional deviations from this practice. Thomas Jay Ryan, who played Philinte in van Hove’s version of The Misanthrope, at New York Theatre Workshop, said, “I had a very big speech he would never let me do in rehearsal. We would get right up to the speech and he would say, ‘You are not ready yet.’” By the time van Hove was willing to rehearse it, Ryan said, “I had all this emotion that came naturally.” He went on, “It had this other layer and life. I was shouting and throwing things. I would never have been able to do it a week earlier. Afterward, Ivo said, ‘I’m sorry, Tom. That is the way you are going to have to do it.’”
Yesterday I finally got around to reading Rebecca Mead’s New Yorker piece on Middlemarch—by all odds the most intelligent novel ever written—and its influence on her own life. If you’re a subscriber, Mead’s article is well worth reading in full (especially for her discussion of an inspirational quotation inexplicably misattributed to George Eliot, a subject on which I have some strong opinions), but I was struck in particular by her thoughts on how her attitudes toward the book have changed over time. Mead writes:
I have gone back to Middlemarch every five years or so, my emotional response to it evolving at each revisiting. In my judgmental twenties, I thought that Ladislaw, with his brown curls and his callow artistic dabbling, was not entirely deserving of Dorothea; by forty, I could better measure the appeal of his youthful energies and Byronic hairdressing, at least to his middle-aged creator, who was fifty-three when the book was published.
This, of course, is the measure of a great work of art: its ability to reveal new perspectives as we approach it at different times in our lives. Most of us, I imagine, have a book or movie or album that serves as a similar sort of milestone, with our evolving feelings toward it charting how much we ourselves have changed. For Roger Ebert, it’s Fellini’s La Dolce Vita. In an article first published two years ago, he writes:
In 1962, Marcello Mastroianni represented everything I dreamed of attaining…Ten years later, he represented what I had become, at least to the degree that Chicago offered the opportunities of Rome. Ten years after that, in 1982, he was what I had escaped from, after I stopped drinking too much and burning the candle at both ends.
And now Ebert has left the movie behind entirely. Recently, he wrote movingly of the fact that he will no longer be able to discuss the film shot by shot at the Conference on World Affairs at Boulder, as he’s done on four separate occasions, and concludes:
Well, now I’ve outlasted Marcello. I’ve come out the other side. He is still standing on the beach, unable to understand the gestures of the sweet blond girl who was his waitress at the restaurant, that day he was going to start his novel. He shakes his head resignedly and turns to walk back into the trees and she looks after him wistfully. I am in the trees with Marcello.
As for the equivalent work in my own life, I’m tempted to say that it’s the Pet Shop Boys album Actually, which has slipped imperceptibly from the imagined soundtrack of my adulthood to a reminder of a period I’ve already left behind. Or perhaps it’s The Phantom Tollbooth, which has evolved, as I’ve grown older, from escapist fantasy to handbook for adult life to the book that I’m most looking forward to giving to my own children. I suspect, though, that it might actually be Citizen Kane, which I once saw as a challenge and call to art, and which currently seems—now that I’m five years older than Welles was—more like a warning, or a rebuke. Or perhaps all of the above. What about you?