Sirens of Coos Bay

DramaWatch: the naked and the nude

The first two weeks in May bring Portland stages a bundle of shows straddling the territory between the real and the ideal

This Saturday, as it turns out, is World Naked Gardening Day, and don’t worry, neighbors, I’m not taking part: I’m not really much of a gardener. The revelation, however, makes me think of another spot of news I got a few days ago from my friend Gerald Stiebel, in his weekly column Missives From the Art World. Gerald was writing about Monumental, the new show of nude paintings by the 20th and 21st century master Lucian Freud, at Acquavella Gallery in New York, and in it he discusses the fine line between nudity and nakedness:

“The renowned British art historian, Sir Kenneth Clark, in his 1956 book, The Nude: A Study of Ideal Art, made a distinction between the Naked and the Nude, considering the nude as an ideal representation of the naked body. By Clark’s definition Freud’s works are not nudes but might be called naked portraits.

An intimate theater in the flesh: Lucian Freud, “Benefits Supervisor Sleeping,” 1995, private collection, at Acquavella Gallery.

“Freud himself wrote, ‘Being naked has to do with making a more complete portrait; a naked body is somehow more permanent, more factual … when someone is naked there is in effect nothing to be hidden. Not everyone wants to be that honest about themselves; that means I feel an obligation to be equally honest in how I represent them. It is a matter of responsibility. In a way I don’t want the painting to come from me, I want it to come from them. It can be extraordinary how much you can learn from someone by looking very carefully at them without judgment.’”

Hardly anyone would call Freud’s often massive portraits ideals of the human form. They can seem grotesque: hills and vales and fissures and folds of flesh; fantastic landscapes of skin. And yet they hide nothing, at least visually: They exude humility, openness, a sense of natural animal humanness, vulnerable and unguarded.

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Inside Fertile Ground: Six Tales

Bobby Bermea talks with the creators of "The Undertaking," "Sirens of Coos Bay," "The Tarot Show," "The Bad Hour," "Friends with Guns" and "Hazardous Beauty"

For the past ten years, Fertile Ground has been the most dynamic event of the Portland theater season. For eleven days the city is engulfed in theater that is by turns thrilling, preposterous, fantastic, raw, hilarious, scary, brutal, inconsistent, challenging, and courageous – sometimes all at once. For these eleven days, good or bad, professional or not, polished almost never, audiences encounter theater at its most honest, vital and perhaps even important — or dangerous.

There is the opportunity, at Fertile Ground, to see something magical. There is also a chance to see something that is totally raw and unfinished, or even just bad. And then there are the myriad stages in between. It’s new work. Anything can happen. What Fertile Ground provides is the opportunity to be present at the exact moment that the spell is being cast.


FERTILE GROUND FESTIVAL 2019


Few moments in life bridge the gap between the magical and the mundane like the act of creation. Inspiration, where it comes from and why, is a mystery that borders on the supernatural. But getting from inspiration to actualization demands discipline and hard work. Sometimes hard work is encapsulated in the nuts and bolts, the rolling-your-sleeves-up and getting-your-hands-dirty. Other times, hard work can mean recognizing what’s holding you back – and then overcoming it.

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