September 15–October 26Randall L. Jones Theatre‘Art’:You Won’tGo AwayIndifferentBy Olga PilkingtonWAS BORN IN PARIS.Yasmina Reza wrote the‘ART’play in 1994. In Octoberof that year, the Comedie des Champs-Elysees staged the first production of thepiece. From that point on, ‘Art’ embarkedon a journey to Berlin (1995), London(1996), Moscow (1997), Madrid (1998),and, finally, Broadway with Alan Alda asMarc (1998). Along the way, Reza’s internationalhit collected several high profileawards including the Moliere Award forBest Author and for Best CommercialProduction, the Evening Standard andLaurence Olivier Awards for Best Comedy,the Drama Critics Circle Award, and a TonyAward for Best Play in 1998. Together withthe awards and fame came criticism. Thereviewers are as divided on the subject of‘Art’ as are the three friends in Reza’s play.Serge, Marc, and Yvan argue throughoutthe whole performance. What theargument is about might seem clear atfirst—Serge bought an extortionately expensivepainting which is completely white, andhis friends are not happy about the acquisi-David Ivers (left) as Jake and Brian Vaughn as“Brother Gerard” in Stones in His Pockets, 2005
tion. However, things are not this simple.The three buddies debate the nature of art(modern and classical), but end by discoveringthe nature of friendship. At least, this isby far the most common interpretation ofReza’s comedy. Many reviewers agree that‘Art’ “is more successful in examining friendshipthan it is art” (Complete Review, http://www.complete-review.com/reviews/rezay/art.htm). Others point out that it is, in fact,a “dispute over aesthetics,” (M.V. Moorhead,“But Is It?” Phoenix New Times onlinehttp://www.phoenixnewtimes.com/1999-11-04/news/but-is-it/, November 4, 1999 ).While the critics disagree whether theplay is about art or friendship, not one ofthem doubts Reza’s talent in creating “razorsharpdialogue that never allows for a dullmoment” (Tu M. Tran, “‘Art’ thou ready forsomething different?” [The Daily Trojan,Vol. 136, No. 04, 1999], 11). The friendscasually trade such remarks as “Listen, oldfruit, we’re not talking about you, if you canimagine such a thing!” or “I can’t love theSerge who’s capable of buying that painting”(all references are to Yasmina Reza, ‘Art’[London: Faber and Faber, 1996], 37–45).No matter how sharp or funny the dialogue,how snappy or frivolous the language,this is not what the play is about. And it isnot about the white two hundred thousandfranc painting either. The true drama ofYasmina Reza’s work comes from the heartsof the three friends, who, perhaps, for thefirst time take a shot at an honest conversationwith each other. While the paintingmight take the center stage, its role is merelythat of a mirror. The Antrios is a plain whitecanvas until Serge shows it to his friends.In the same way, Marc, Serge, and Yvan areordinary old buddies until they are confrontedby the painting. As the three friendsgive way to their emotions, they (withoutquite knowing it) provide justification forSerge’s extravagance, find the root of Marc’sobjections, and discover Yvan’s sensitivenature. In other words, the painting givesthe three men a chance to take a new lookat themselves and their friendship. And inreturn, they provide a reason for such art asthe Antrios.A white painting bought for two hundredthousand francs (approximately fortythousand dollars) is sure to cause a stir. Is itworth the price? Serge’s answer to this questionis ready in a snap, “Huntingdon wouldtake it off my hands for two hundred andtwenty” (Reza, 1). Is this reason enoughto call this painting a work of art? Do wemeasure the artistic value of an object by itsprice? Or is it an audience’s approval thatmakes any piece of art worth while? Sergeis obviously convinced it is the latter. Ifnot, why would he be so disturbed by therude remarks of his friends. He adamantlydemands an explanation of Marc’s assessmentof the painting, ”What do you mean?”exclaims Serge when Marc describes theAntrios in not so kind terms. “By whosestandards is it [worthless]? You need to havesome criterion to judge it by” (Reza, 3).What bothers Serge the most is not thewords Marc chose to describe the painting,but the “Way he reacted” there was “nowarmth when he dismissed [the painting]out of hand” (Reza, 4). Serge would nothave minded criticism coming from a concernedfriend, but he can not take the “Vile,pretentious laugh” from a “Condescending,narrow-minded . . . fossilized” observer(Reza, 50). At the same time, Marc is notreally upset about the white painting, butabout being replaced with this painting:Serge: Are you saying, I replaced you withthe Antrios?Marc: Yes.Serge: . . . I replaced you with the Antrios?Marc: Yes. With the Antrios . . . and all itimplies (Reza, 51).From this point on, the play finallymakes that shift from the subject of art tothat of relationships. The audience nowrealizes that the fight is really about Serge’saffection. For whatever reason, both Marcand Yvan crave his friendship. Marc displayshis need by openly confronting Serge andthe object that threatens their friendship,“You’ve found a new family. Your penchantfor idolatry has unearthed new objects ofworship” (Reza, 53). Yvan takes a differentapproach. He thinks that by approving ofthe painting he can become closer to Serge:Serge: It’s a seventies Antrios . . .Yvan: Yes, Yes. Expensive?Serge: In absolute terms, yes. In fact, no. Youlike it?Yvan: Oh, yes, yes, yes.Serge: Plain.Yvan: Plain, yes. . . . Yes. . . . And at thesame time . . .Serge: Magnetic.Yvan: Mm . . . yes . . . (Reza, 13).To the disappointment of both Marcand Yvan, people cannot be scared orabused into a friendship; neither can theygenuinely appreciate a friend who neverdisagrees. Fortunately, by the time thecurtain falls, the three fellows seem to haveremembered they were in a comedy andbrought their relationship back to life withthe help of a good laugh, some “nibbles,”and “one of [Yvan’s] famous felt-tips” (Reza,59–60). Yasmina Reza’s ‘Art’ is sure to sparkcontroversy, and no audience member will goaway indifferent to its issues. After all, thereis an art critic and a friend in each one of us.AMPHITHEATRE • NEAR ST. GEORGELet our mountainsspeak to you…then sing for you…then dance for you.The magic eruptsat sundown.Rodgers & Hammerstein’sCINDERELLAMY FAIR LADY42ND STREETplus Little Shop of Horrorsin the Indoor Hafen TheatreProfessionaloutdoor theatreat the base of1500-foot redrock cliffs!Ask aboutour deliciousPre-Showdinners!1-800-746-9882www.tuacahn.orgTM<strong>Midsummer</strong> <strong>Magazine</strong> <strong>2007</strong> • 31
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