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[PERFORMANCE ART REVIEW] Aurelia Thierree at Jacob's Pillow
7.1.07
JACOB'S PILLOW
Aurelia Thierree in Aurelia's Oratorio
Doris Duke Studio Theatre
June 28-July 1, 2007
review by SETH ROGOVOY, editor-in-chief and critic-at-large, BERKSHIRE LIVING Magazine
(Becket, Mass., June 29, 2007) -- Aurélia's Oratorio, starring Aurélia Thierrée and directed by her mother, Victoria Thierrée Chaplin, (yes, that Chaplin – Aurelia Thierree is Charlie Chaplin’s granddaughter), contained more than a bit of Chaplin in her performance.
But it was Chaplin for the 21st century. This wasn't mere physical comedy or slapstick or neo-vaudeville. This was an elegantly acted and performed program that dealt with issues of time and space, magically distorting both through circus-like gestures that were smartly choreographed and juxtaposed.
Aurélia Thierrée, reportedly born in a traveling trunk while her mother was on tour, boasts a face that seems sculptured for the stage. Her wide eyes and startling cheekbones were as expressive as her distorted gestures, which were less dance and more like a Salvador Dali painting come to life, or an hour-long plunge into a dream sequence from David Lynch's Twin Peaks.
Thierrée played with reality by seemingly deconstructing the human body so limbs and other body parts were connected -- or disconnected -- in grotesque ways. Shadows were reversed, so that a shadow actually cast a person instead of vice versa. A coat had more life and strength than its wearer, and a model train ran right through her belly.
One can only imagine the years of work that went into the planning and creation of Aurélia's Oratorio, a singular work of performance art that will undoubtedly stand out for those who saw it as one of the highlights of the Pillow's 75th anniversary season, and even the Berkshire cultural season at large.
One also imagines Charlie Chaplin viewing Aurélia's Oratorio from beyond the grave and smiling and laughing, proud of how his tradition has been perpetuated and modernized.
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