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an integral part of the company’s staging. “Fabric allows us to breath,” she says, speaking of its effect on both actors and audience, “and reminds us to let things happen.”
In a recent production of “The Fisherman and His Wife,” a parachute functioned dramatically as the billowing, violent sea, but was equally convincing at other times as a bed, various cloaks, a scrubbing rag for the floor, and even, draped across the actress’s back, as the front step of the house.
Ms. Portman has arrived at the specialized work of the Golden Key by way of a lifelong and circuitous path through the arts, a path that led her first away from contemporary American theatre and into her own experimental work, and then to India, in search of something closer to the origin and essence of theatre.
“I couldn’t see where the discipline was in the acting and directing I saw in graduate school,” she says. “I became determined that after graduation, I would have my own theatre.”
Having grown up in a family of musicians and being involved then in studying traditional Asian theatre, she was disturbed by the one-dimensional quality of American drama. In the ancient No and Kabuki theatre forms of Japan and in traditional Chinese theatre, she saw what she thought was essential — dancers, musicians and actors working together.
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