As cofounder of the internationally-known, highly-controversial radical political troupe, The Living Theater, author Judith Malina is one of the leading female countercultural figures of the 50s, 60s, 70s and beyond. inFULL MOON STAGES: PERSONAL NOTES FROM 50 YEARS OF THE LIVING THEATRE, she creates an intimate memoir in a unique format with a collection of personal notes written on every full moon for 50 years from 1964 to 2014. These never-before-published personal notes reveal Malina's most private thoughts and inform the reader on what The Living Theatre was performing as they wound their way from New York City to Italy, France, Belgium, Germany and Brazil in a nomadic series of notable performances of such underground classics as The Brig, The Connection, andParadise Now. Malina is relentless in her commitment to the full moon schedule, writing regardless of her current life circumstance. Notes issue forth from hotels, trainseven prison, offering a light on the consequences of holding true to her code of the theatrical expression of her pacifist-anarchist principles. The format of the book is well-suited for modern readers interested in history of the counterculture. In addition, the book includes 50+ rare historical photos from Living Theatre performances and intimate
JUDITH MALINA trained with Erwin Piscator at the New School. With her husband Julian Beck, she founded the Living Theatre in 1947 as an artistic and socially conscious alternative to the commercial theatre. Since then she has directed and often acted in more than sixty influential productions, among them William Carlos Williams's Many Loves, Jack Gelber's The Connection, Kenneth H. Brown's The Brig, Bertolt Brecht's Man Is Man and Antigone, and the Living Theatre's collective creations Frankenstein, Paradise Now, and The Legacy of Cain, touring widely. After the death of Julian Beck in 1984, she directed the company alongside playwright-director Hanon Reznikov, whom she married in 1988, opening a new Living Theatre on East Third Street in New York and the Centro Living Europa in Rocchetta Ligure, Italy. The next Living Theatre opened at 21 Clinton Street in New York in 2007. Following Hanon Reznikov's death in 2008, Judith Malina continued to act, write, and direct plays at the Living Theatre. Her writings include plays, diaries, essays, and two previous collections of poetry, Poems of a Wandering Jewess (Handshake, 1982) and Love & Politics (Black & Red, 2001).
Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents the author Malina's intensive and idiosyncratic training at Piscator's school.
Compris dans l'avant garde artistique du XXe siècle par sa position politique radicale et une réflexion permanente sur le rôle du théâtre, dont il questionne de manière incisive la vocation institutionnelle visant à plaire, le Living Theatre propose une relation interactive entre l'acteur et le public. Ces derniers doivent contester ensemble les conventions établies d'un théâtre fondé sur l'illusion. "Paradise Now", création théâtrale collective exprimant l'esprit de révolte du temps, recherche le paradis et l'Utopie "hic et nunc" à travers la détermination infatigable de mener à bout l'entreprise théâtrale par l'action, la rébellion et la révolution anarchique non-violente. Le 24 juin 1968, la première de Paradise Now à Avignon est une révolution dans le théâtre : la plus accomplie de leurs performances représente l'apogée de leur création artistique, transgressant la frontière scène-salle et la bienséance bourgeoise.
Theater legend Malina has written one of the most interesting studies of the avant-garde theatrical movement published in the last several years.' – CHOICE Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents Malina’s intensive and idiosyncratic training at Piscator’s school. Part diary, part theatrical treatise, this unique and inspiring volume combines: complete transcriptions of Malina’s diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscator’s syllabi and teaching materials; notes on Malina’s teachers, fellow students – including Marlon Brando and Tennessee Williams – and New School productions; studies of Piscator’s process and influence, along with a new essay on the relationship between his teaching, Malina’s work with the Living Theatre and "The Ongoing Epic"; an introduction by performance pioneer, Richard Schechner. The Piscator Notebook is a compelling record of the genealogy of political theatre practice in the early 20th Century, from Europe to the US. But it is also a stunningly personal reflection on the pleasures and challenges of learning about theatre, charged with essential insights for the student and teacher, actor and director. 'Piscator is the greatest theatre man of our time.' – Bertolt Brecht
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