Ultimately, we realise that 'Art', like the form itself, is universal and all encompassing." - Gopika Vaidya, India Times I have a real sadness when I see the children of immigrants, the young people in the suburbs who were born in France but who don't speak the language at all well. They are choosing to marginalise themselves. This way of speaking in the suburbs is half-Arab, half-French and I don't understand it. It's a way of marking yourself out. Yvan visits Serge at his apartment, and they discuss the Antrios painting. Yvan is more openminded about discussing the qualities of the painting itself than Marc was. When Serge tells Yvan how much he paid for the painting, they both share a hearty laugh. Serge tells Yvan that he resents Marc’s response to the painting because of his tactlessness, insensitivity, and tone of smugness in expressing his opinion about it. Art' is a French-language play by Yasmina Reza that premiered on 28 October 1994 at Comédie des Champs-Élysées in Paris. The English-language adaptation, translated by Christopher Hampton, opened in London's West End on 15 October 1996, starring Albert Finney, Tom Courtenay and Ken Stott, produced by David Pugh and Sean Connery, running for eight years. Under the white clouds, snow is falling. You can’t see the white clouds, or the snow. Or the cold, or the white glow of the earth.”

Art' is an industry, one of the rare dramas that joins a select list of musicals and finds its way to seemingly every theatre town, making a splash as a play that must be seen and discussed. L'Aube le soir ou la nuit (2007). Dawn Dusk or Night: My Year With Nicolas Sarkozy, trans. Carol Brown Janeway (2008).

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This is an admirable production by David Pugh. The original cast, Albert Finney, Tom Courtenay and Ken Stott, are replaced by Nigel Havers, Denis Lawson and Stephen Tompkinson but the pace and the brilliant comic timing are firmly intact. Right from the outset with the characters’ intermittent asides to the audience to the puncturing of elevated discussion about art’s meaning, we are given a heavy dose of seriousness without the heaviness that conceptual plays sometimes embody. In particular, Tompkinson’s delivery of his character’s monologue at his lateness is outstanding and prompted an appreciative, raucous applause whilst Havers and Lawson comic attrition around the coffee table left us giggling at the prolonged silence of awkwardness. What an excellent set of cast Pugh has selected. Among many other things, Reza’s play follows Pinter’s The Caretaker in depicting the shifting power-alliances within a male trio. Key’s Yvan is first enlisted as an ally by the other two and then treated as a punchbag. Simultaneously, he is revealed to be a total neurotic, obsessed by the complications of his impending marriage. The three actors, even though Key occasionally swallows his lines, are all very good, and both Warchus’s production and Mark Thompson’s design are immaculate in their conception. Andersson, Benny; Ulvaeus, Bjorn; and Craymer, Judy (2006), "Mamma Mia! How Can I Resist You? - The Inside Story of Mamma Mia and the Songs of ABBA", Weidenfeld & Nicolson, London, p. 151. Reza, Yasmina (1996). 'Art' . Translated by Hampton, Christopher. London: Faber and Faber. ISBN 0-571-19014-6. She says she is wary of becoming "a spokesman" for her characters. "We ask writers to have a vision of the world, to take positions. I don't like to do that because I want to be able to write characters who have different takes on life and for them to be convincing."

Much representational art may also be categorized as realist, or naturalist. Realism, or naturalism, is characterized by representational art that aims to closely reproduce images of persons, places, or things, clearly resembling that which may be seen in the world around us. By contrast, representational art that is not realist may include images of persons, places, or things that resemble the real world but represent them in ways that are distorted, imaginary, improbable, or fantastical. How the Old Vic has reinvented itself post-Kevin Spacey | Features | The Stage". The Stage. 2017-05-04 . Retrieved 2017-05-14. Yasmina Reza may have made her mark as an author and a playwright, but she is, first and foremost, an actor. Her plays have been described as acting showcases, displaying a real understanding of the relationship between actor and script. An entry on Reza in The Complete Review notes that, as an actress, she has an “ear for what works on stage. Her dialogue is often sharp. . . . Plays such as ‘Art’ . . . [rise] and [fall] with what the actors can do with their roles.” As a result, Reza’s plays resonate with actors, attracting some of the biggest names on Broadway and in Hollywood.

Does she still consider herself a moralist? She smiles. "There are all these university theses that say I'm a moralist. I don't know if I am or not. Perhaps…" She lets the thought hang, taking another sip of her tea.

The text has some wonderfully funny moments, especially in the character of Yvan who is a little neurotic and overwhelmed by the intellectual capacities of Serge and Marc. I also think Yvan is the character that we come to understand the most, although he seems secondary to the other two. Art was, of course, a huge hit in the mid-nineties. Short enough that you could grab dinner afterwards (at a time when most plays weren’t). Successful enough that one profile of its writer could run to a mere five words – "Yasmina Reza est tres riche." It ran for eight years, and caught something of the British public’s fascination with – and scepticism of – contemporary art. A year before Reza’s play opened in London, Damien Hirst had won the Turner Prize with his bovine formaldehydes. To the audience at the Hippodrome on Monday night, however, it was clear that the production was designed to combine a soothing mixture of the two.In August 2021, a Canadian theatre company Crane Creations led a play reading event of ' Art'. A group of professional theatre artists discussed the form, themes, style, and current world issues related to the play. The play reading event aims to raise appreciation of playwrights and playwrighting from around the globe. I would see the play professionally done, and then read it a month or so later. I think one can get a lot out of the experience in approaching it in this way. "Art" has a lot to give, but it does not give it up easily. It is not difficult to "miss the forest for the trees" with this text. Is Reza’s play, in the end, a modern classic or a modish crowdpleaser? I lean to the former view but the answer, as with Serge’s enigmatic painting, lies in the eye of the beholder. Tom Courtenay’s Serge is an equally remarkable creation: a man who prides himself on his taste and sensitivity, yet is capable of extraordinary emotional cruelty. And Ken Stott punches his weight as the hapless middleman caught between these two prowling panthers: for sheer bravura and breath control, it would be hard to beat the scene where Stott launches into a neurotic tirade about the interfamily wrangles over his impending wedding. When they hand out the acting awards, they are going to have to devise a hydra-headed statuette to cover these three blistering performances.