1/12/2024 0 Comments Tim robbinsIt was the smile of an artist amused by the transformation of that moment,” Robbins said. “I remember George’s smile backstage that day as he helped defuse that situation. But rather than being disturbed, Bartenieff enjoyed a moment when theater was reality, not fantasy, although he always made it part of his reality. They finally convinced the agitated man that this was just a play. George ran faster than I’ve ever seen him run and got backstage to safety.” He started to chase George with all the intensity and vengeance of a vigilante. “On this particular day, there was an audience member in an altered state who thought this was real. “My character was supposed to chase him,” Robbins said. Robbins remembered the aforementioned street theater performance in the summer of 1973, which, he said, “got tense” when George Bartenieff, as part of the show, snatched a character’s purse and ran off into the audience. ![]() “It wasn’t what you call today a ‘safe space.'” “This theater company was a collection of rough, determined, independently minded, radical people. “Doing theater that pushed the boundaries and living a life in defiance of authority were not things encouraged by the powerful forces in our lives,” Robbins noted. Robbins remembers TNC as not just presenting theater, but literally testing its limits, helping define ways that theater could transform. “I’m indebted to them forever for the kindness and guidance that Crystal and George showed me as a young actor.” George and Crystal were de facto parents to me, in a way,” Robbins said. “I spent a lot of time at Theater for the New City as a young teen. I want you to know those times still live in my heart very strongly.”Īmong TNC’s most famous alumni, Robbins spoke in the video clip about how he truly discovered acting on TNC stages where George and Crystal were busy “creating theater that expanded the reality of what theater could be.” “Crystal, Alex, I know it’s been a long time since those early days in the Seventies. I wanted to be George Bartenieff,” Robbins said. “George meant the world to me as a young actor. Robbins said Bartenieff “inspired me and others to live his dream, to create outside of the norm, to tell stories that talk about now, this moment.” “He kind of took the actors with him that were in the cast and encouraged us all to have fun with the subversive street theater that we were doing.” And he was generous and funny, a great actor that saw the worth in everyone, even a novice 13-year-old like me,” Robbins said via video. Robbins, via a video tribute shown at a recent memorial to Bartenieff at Theater for the New City in the East Village, talked about his mentor’s grace and wisdom, as Bartenieff, Crystal Field and TNC steered him to theater and gave him a stage. ![]() “I was a 13-year-old, looking at that and wanting to be that.” “At the time, he seemed to possess the answers - aside from his incredible talent as an actor,” Robbins said. ![]() ![]() Robbins recently looked back on those days as among his first steps on stage and a time when he truly discovered theater. Tall with baby-faced looks, he has the ability to play naive and obtuse ( Чоловік-кадилак (1990) and Підставна особа (1994)) or slick and shrewd ( Гравець (1992) and Bob Roberts (1992)).BY CLAUDE SOLNIK | Back in the 1970s, Crystal Field cast an adolescent Tim Robbins as gang member in a street theater play in which George Bartenieff played a kind of junkie mystic. He started film work in television movies in 1983, but hit the big time in 1988 with his portrayal of dimwitted fastball pitcher "Nuke" Laloosh in Даргемські Бики (1988). That same year, he formed the Actors' Gang theater group, an experimental ensemble that expressed radical political observations through the European avant-garde form of theater. Robbins studied drama at UCLA, where he graduated with honors in 1981. Born in West Covina, California, but raised in New York City, Tim Robbins is the son of former The Highwaymen singer Gil Robbins and actress Mary Robbins (née Bledsoe).
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