Saturday, June 15, 2002

Faithfully, Fatefully and Fatally Pinter

Sunday, March 10, 2002
Faithfully, Fatefully, and Fatally Pinter

TheNewTheatreCo-op . . . The Birthday Party by Harold Pinter . . . Directed by Susan Williamson . . . with a stunningly caring hand she has shaped a classic of modern theatre into a edgy parable of deceptive & poignant terror . . . . . .brilliant Pinter . . . the cliche, Language Of Silence, made visible by the controlled and imaginative voice of the actor. . . each moment, the actions shatter our illusions (delusions) that we can celebrate the mundane daily existence. . . . scene after scene gnaws at the borders of our attempts to construct meaning. The entire cast flawlessly touches Pinter's claustrophobic, almost archaic and ancient, soulscape with moments of intensity that open into the heart with ease and immensity. . . ."the nerves break" as each word is mercilessly articulated with a passionate cadence and cruel laugh . . . the characters jostle and juxtapose in complex relationships ranging from the recognizably banal to perpetually mysterious . . . . . . the insignificant to sit or not to sit . . . relentless interrogation . . . thoughts repeated . . . meanings twisted . . . questions dissolving without resolution . . . the actors weave a seamless web of precise actions of existential angst that emotionally permeates like a cold cup of tea . . . . . . plunged into darkness the voices pierce and startle, echoing chaotically against all hope and reason . . . Thank you Henry and Susan for sharing your skill, knowledge and wisdom. Your lights are a beacon for us all.


". . . the idea of the Vicarious Soliloquy has allowed me to explore the relationship between learning and experience. Developing the Vicarious Soliloquy system brought me to a point where I realized that much of WearComp's potential has to do with facilitating the act of being instead of doing." ( Mann. Cyborg p19)

International Herald Tribune "" Whether it shapes trends or merely reflects them, Kassel 's "Museum of 100 Days" has long since established itself as the world's most important venue for contemporary art. . . . Documenta 11 is predominantly a literary show, small wonder when one considers that Enwezor studied political science and literature and more often describes himself as a poet rather than a curator. The narrative, whether fictional or documentary, ethnographic or political, is perhaps the most dominant idiom here. Sometimes, indeed, literature is directly thematized, as in a handsome series of black-and-white and black-on-black paintings by the Bronx-born Glenn Ligon - all variations on a passage from James Baldwin's essay "Stranger in the Village."


:: comment :: . . . am obsessed with any Documenta . . . during my decade in europe this venue transformed my way of seeing . . . had the opportunity to even participate in workshops offered during the exhibition . . . hope many are able to visit . . .