There’s something romantic and majestic about the Renaissance period in Europe. Even without intricate knowledge of the art produced during this time, this cultural bridge between the dark Middle Ages and modern history conjures up images of starving artists, a sense of humanity and a need to refine the human experience. An affirmation to depict reality, the essence of beauty and a nose-dive into the labyrinthine of aesthetics, were common threads that ran through the fabric of society as well.
It’s against this background that Howard Barker wrote Scenes from an Execution, currently showing at the Baxter Theatre in Cape Town. The story revolves around Venetian artist Galactia (played by Jennifer Steyn) who is commissioned to create a painting to celebrate the triumph over the Turks during the Battle of Lepanto in 1571. Instead of focussing on the pride of a nation, she draws images of grotesque violence and ugliness of slaughter. The Doge (Graham Hopkins) commissions the piece and considers artists to be “my favourite people”. But what would the response of the state be to this artwork? Does it not go against the aesthetics of the period?
On the surface, the play looks like an attempt to hold onto artistic integrity, but in this artificial reality of 16th Venice Barker paints a picture of rawness, vulnerability and a miscellany of blood, sweat and flesh.
Director Clare Stopford was the captain of the ship and she steered the ship through remarkably tough and tumorous waters – not only highlighting the complexities of the time, but also the fictional individuals involved. A scaffolding that was used throughout the play – constantly shifting position and this created different levels of innovation. With short scenes and fluctuating mood she achieved a balance that – rightfully so – never achieved homeostasis.
Steyn delivers a stellar performance. Galactia is a highly intricate character; she is aware of her brilliance, which leads to arrogance. Naturally there is conflict between her and the political elite, but her naivety and stubbornness can eventually lead to a peculiar position where she would act against her own betterment, simply to be intellectually “superior”.
Steyn captures these internal struggles and turmoil. Her range is remarkable and her tempo-rhythm is spot-on. Technically she is very strong, and she takes the audience on the journey of complex emotions.
The character is not likeable, but one must walk out of the theatre understanding her motives, or at least get a glimpse of the internal struggles. You might not feel empathy, but it’s important that one is brought to the point of at least trying to understand her unique psyche. Steyn confluctuates these concepts masterfully and enriches ones experience of a character that can easily be seen as one-dimensional. She takes one through states of being; from being immensely passionate to being ironic and engaged. At times she is seductive and lustful and on other occasions quite stand-offish.
In a similar way Hopkins excels as the Doge, with perfect comedic timing. He brings the nuances of his character to the foreground and his voice creates meaning at the most unexpected moments.
In a South African context, the role of art in society, specifically its role to critique, has gained prominence. Scenes from an Execution highlights the complex positions artists find themselves in: Be true to yourself and portray the world, and manage power relations at the same time. It’s perhaps a heed to cherish our artistic freedom in a time when it is desperately needed.
For more details on the show go to: http://www.baxter.co.za/shows/
