Surrender. (Theater Artaud, San Francisco, California) (R

By Porges, Maria | Artforum International, March 1993 | Go to article overview

Surrender. (Theater Artaud, San Francisco, California) (R


Porges, Maria, Artforum International


Although billed as "environmental theater," Lauren Elder's immensely ambitious multi-disciplinary performances encompass far more than mere drama. Like her earlier work Off Limits, 1989, Surrender is a sprawling, archetypal story with a narrative thread that twists into knots at times, guiding the audience from event to dream to memory, but always wandering back to the story at hand. This temporal movement is echoed by the frequent physical relocation of both players and audience in and around the hangar-sized space of the theater. Surrender also shifts from spoken text to singing, chanting, and instrumental interludes.

The story, roughly speaking, is about Tom, a test pilot who negligently crashes his jet in the Nevada desert, killing his co-pilot and best friend, Petey. After encountering a young bike-riding Chicano boy at the crash site, Tom meets some very interesting characters who have chosen to live out in the middle of nowhere: a philosophical Russian archaeologist and former cosmonaut; a dreamily poetic Middle-Eastern astronomer; and a black woman gifted with formidable powers of healing and intuition. Tom's encounters with each of these men and women, as well as a supporting cast of ghosts (Petey as well as Tom's mother and father) are punctuated with sound and movement by separate male and female choruses.

From the first, Surrender drew in the audience, making it clear that the questions being asked were ones that all of us will have to find an answer for, sooner or later, within ourselves. These issues range from war resistance to wartime killing, from the loss and loneliness experienced by the families of soldiers, to the effects of radiation on the flora and fauna of the desert. Tom's rigidity is confronted and eventually softened by what he sees, hears, and finally comes to accept: that he must take responsibility for his actions. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Surrender. (Theater Artaud, San Francisco, California) (R
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.