When I was in high school, a teacher of mine named Ray Fulmer gave me a box of theater books that he was clearing out of a closet before his retirement. In that box I found lots of acting editions of old plays, books of monologues for students, a few prizes (Joe Egg!), and The Presence of the Actor by Joseph Chaikin. I'd never head of Chaikin, even though I had just begun the inevitable obsession with Beckett that all isolated theater geeks enjoy during their theatrical awakening. The book, deeply personal, insightful, filled with evocative black and white photographs, was thrilling. Other books about acting and theater that I enjoyed at the time - Uta Hagen, Stanislavsky, David Mamet, Peter Brook, Jerzy Grotowski - all seemed dogmatic, finger-waving or too theoretical compared to Chaikin's book. Chaikin seemed more intrigued than certain, more astonished and political than academic or philosophical. He seemed to come from a place that I recognized.
I was too young at the time to really know why the book struck such a chord. All I knew is that the idea of the Open Theater, the idea of the way Chaikin worked and believed in theater, created a sense of what theater could be that outpaced any actual theatrical experience I'd ever had or had previously been offered to me. I still imagine my work in the way Chaikin inspired me to imagine, and believe in the importance of plays and actors in the way that he inspired me to believe.
Which is why I was so thrilled to discover the existence of the as-yet-unreleased documentary The Presence of Joseph Chaikin by Troy Word. The film, which is still seeking release and to complete financing, is absolutely wonderful. I cannot wait to see how audiences respond to it, and how much good it will do for young and experienced theatermakers alike once it has wide distribution.
In service of that, director Troy Word took a little time to talk to me about his film, his hopes for it, and his relationship with Chaikin's work. Please enjoy and share.
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Joseph Chaikin's work with the Open Theater, his
collaborations with Sam Shepard, and his book The Presence of the Actor are
significant parts of the history of New York and American theater, but I would
guess that he's still relegated to cult status to most people. Why do you think
Chaikin remained, during his lifetime, largely outside the mainstream?
When Joe arrived in
New York in the 1950‘s he wanted to become a rich and famous actor. But his
role as Galy Gay in the Living Theater’s production of Brecht’s “Man is Man”
changed his life forever. Inspired by Brecht, Joe abandoned his pursuit of
fame. He had many opportunities to work in mainstream commercial plays and
movies, but that wasn’t his quest. He committed his life to experimental
theater and exploring new ways of communicating. He felt commercial success
corrupted the discovery process. I think that was the major reason he disbanded
the Open Theater at the height of their fame.
What inspired you, personally, to create this film?
I met Joe at a party
late in his life. The hosts were friends of mine and introduced us. Our
conversation was limited due to Joe’s Aphasia. But he had an amazing presence.
His eyes were clear and penetrating. He used very few words, but I felt an
instant connection with him. Weeks later my friends gave me a copy of the
recording “War in Heaven” that Joe did with Sam Shepard. I found it to be
incredibly moving. I wanted to learn more and started researching him. I have
no background in theater, but as I learned more, I became obsessed with his
story. His artistic quest, the constant threat of mortality, and the
perseverance to overcome Aphasia is inspirational.
Chaikin's personal story - his childhood trauma and lifetime
of illness - is a large part of the narrative of the film. How do you feel his
brushes with death and dying informed him as an artist?
As a child, Joe’s heart was severely damaged by Rheumatic
Fever. In an effort to save his life, he was sent from Brooklyn to Florida and
the National Children’s Cardiac Center. There, surrounded by children who were
dying, he was separated from everyone
and everything he knew. It was in this environment he started creating plays
with the other children. Theater happens in the present. I think that had a
powerful resonance for young boy faced with mortality. The immediacy of theater
was connected to survival for Joe. His life long quest exploring that immediacy
sustained him.
Ethan Hawke tells a powerful story of Chaikin, as director,
insisting that the cast perform Shepard's The Late Henry Moss only days after
September 11th, 2001. What do you think artists working today can learn from
Chaikin's zeal?
For me, that is one
of the most powerful moments in the film. Until the end of his life, Joe never
lost his faith in the power of theater to change the world.
What most surprised you about Chaikin's life and work as you
crafted this film?
I was amazed at the
incredible list of people that admired and collaborated with Joe. Some of the
most important artists and thinkers of the late 20th century. Beckett, Miller , Sontag, Shepard, Grotowski, Brook, Campbell, Genet, Ginsberg, Paley the list goes on
and on. In fact, the last thing written by Beckett before he died was dedicated
to Joe.
What are your hopes with the film?
First of all, that it is finally released. It has been a 10
year journey getting the film finished. We are working to raise the final funds
to pay for the Archival footage rights which are the most expensive part of the
film. The film has been financed by me with some help from Joe’s family. We are
exploring a Kickstarter campaign for the final push to get the film released. I
want to try and make it available to the widest possible audience. It has been
almost impossible to access material on Joe and his work. I hope the film will
serve as a window into his life and work and inspire a new generation of
theater artists.
Tell us a bit about yourself. What's your background?
I am a commercial still photographer specializing in
Fashion, Beauty, and Celebrity photography. Before I started this project I had
no real background in Theater or
Documentary film. Now I am obsessed with both.
I'm sure you've watched many works directed by Chaikin or
featuring him in order to create this film. Could you highlight works for us
that you feel truly captured the best of his art?
What is interesting
to me about the Open Theater work is that it still feels very modern. Maybe
it’s the deceptive simplicity of the stagecraft. But I think the major themes
of the works still resonate today. “The Serpent” is very powerful. Of the later
works , “War In Heaven” was my inspiration for the film.
What do you hope audiences learn or feel when they watch The
Presence of Joseph Chaikin?
Above all, I hope
they are as inspired by his life as I was. He touched and inspired so many
great thinkers. It is impossible to quantify the extent of his influence. He
was a true artist, dedicated to the journey of discovery, not fame or fortune.
That is something we all can learn from.
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The website and trailer for the documentary can be found at the link below
