Wednesday, March 31, 2004

". . . Ernest Abuba's "Kwatz! The Tibetan Project: The Sound of a Hammer Hitting the Head," Leave skepticism and logic outside and just float with the play. Its mystical visions, music, song, dance and occasionally shocking violence may send you away after its 75 minutes with a powerful emotional connection to Tibet under Chinese oppression and with some glimpses into Buddhist apprehension of reality that are beyond words."(THEATER REVIEW | 'KWATZ! THE TIBETAN PROJECT' | A Coma Becomes the Real World, With a History of Modern Tibet By D. J. R. BRUCKNER)

:: note :: . . . wish live theater could move more from place to place . . .

Tuesday, March 30, 2004

A picture named sheArtist.jpg

Artist Statement : Thoughts, Reflections, Intentions:
Absence vs. Presence : Ae Ran Jeong March 2004

Sometimes absence tells time and defines space clearer than presence. Absence evokes memory. Memory takes place in a very specific time and space. The contents are missing but traces are left in the sand. The objects move (escape) into the ocean, yes in the sea salt ocean. The memory is poured out swiftly as if sinking into the sea salt. Yet it is the water that is missing. Just as objects erode, the memory fades. As the objects are pushed onto land again, a weathering transforms them. They return into the earth, the memory becomes who she is.

The cycle of life/memory.
An adventure with risks,
and hopes to grow and deepen who she is.
SHE . . .

Sunday, March 28, 2004

"I have refused to set down on paper a single phrase that did not emerge from my deepest soul. Not one line that did not express the truth about woman, and about her power of giving. This is why I have asked my pen to take the oath of refusing to write a single line if it were to express weakness or frustration, as well as to refuse to obey me if it felt me cowardly before truth. I then asked it to help me bring to the fore the greatest number of women whose lives I share, by drawing nearer to them and becoming their mouthpiece. "

"We would thus bare ourselves completely before each other, by ridding ourselves of the rust accumulated with the passage of time. We would cry out against all the circumstances and events that have deprived us of the bursting forth of our human powers."

"Lastly, I believe that theatre is the light that illuminates the path of mankind. A light that ensures an organic link with the spectator by creating warmth between us -- be that communication through the written text or through the performance on stage."(World Theatre Day International Message 2004 | Fathia El Assal)

:: note :: . . . was too busy attending theater and making theater to note yesterday was World Theater Day . . . looked at last year on this day . . . discovered world theater links . . . find 'if'... useful this way . . . following my own blinks . . .

Saturday, March 27, 2004

The Saskatoon Native Theater Company present Indian Time By Drew Hayden Taylor in collaboration with the 2004 Circle of Voices Program participants.

:: note :: . . . a stunning collaboration . . . powerful, poignant and moves us to a deeper understanding of the mystery of that "Indian thing", of kawansihkik, of lost spirits and time seers in the time equation . . .

as in all great storytelling the narrative is deceptively simply . . . rich in humour, true to life experience, honours the spirit . . . like all great oral storytelling it teaches . . . no pedantics, no didactical preaching - just listen . . . like great drama there are breath-taking theatrical moments where stage, sound & lighting fuse to expand the dimensions of the action . . .

Artistic Director Kennetch Charlette creates a sacred here&now place . . . a fantastical & imaginary landscape where his company of youthful artists weave their stories into our hearts as they themselves work in developing their voices by encountering their imperfections and their own buried traditions . . .

the drum beats and we are called to the border where differences come together . . . where as Thomas King writes (2003 CBC Massey Lectures: The Truth About Stories) ". . . and stories are all we are . . ." . . . Zeke the Elder leaves the troubled Aboriginal youth to face a fearful paradox of time: we can live the story that others have written for us AND we can write our own story. . .

the last tableau of the youth gently touching the depictions of aboriginal rock carvings let my spirit wander the chiseled petroglyphs Indian Time has left burnt into my memory . . . I must go again . . . much more to write . . . and any who can should go to see Circle of Voices . . .

Friday, March 26, 2004

"In Hungary, I've been told, they often say that when a night in the theatre was good, an angel went through the stage, one time, two times, many times. And for me this moment is the most important thing about the theatre, and a thing which no other art form has, this moment when an angel goes throught the stage."

"What happens in those moments?"

"Of course I don't know, no one does, because it just happens, or it just does not happen; one night it happens at that part of the play, the next night in another part. "

"For me these intense and clear moments, although they are hardly explainable, are moments of understanding, moments when the people who are present, the actors, the audience, together experience something which makes them understand something they never before have understood, at least not as they now understand it."(Looking forward, looking back: theatre and the spiritual, messages to a new world | When an angel goes throughthe stage | Jon Fosse )

Thursday, March 25, 2004

A picture named Where
TexT WorK:
Working Version March 2004

Ae Ran / Ash Wednesday - T.S. Eliot
Alison / My Countrymen - Kahlil Gibran
Greg / The Age Demanded - Ezra Loomis Pound

Ae: (moan to clarity) "Where is the enemy? We must kill Him first!" (3X)

A: (vibration to voice) What do you seek, My Countrymen? Do you desire that I build for You . . . (more)

Wednesday, March 24, 2004

The Practice

A picture named Where

TexT Work:The Practice

Working Version March 2004

(click picture to the right for video)
Ae Ran / Ash Wednesday - T.S. Eliot

Alison / My Countrymen - Kahlil Gibran

Greg / The Age Demanded - Ezra Loomis Pound

Raymon / coordinator

Play Act I

Ae: (moan to clarity)
"Where is the enemy? We must kill
Him first!" (3X)

A: (vibration to voice)
What do you seek, My Countrymen?
Do you desire that I build for
You Gorgeous palaces, decorated
With words of empty meaning, or
Temples roofed with dreams? Or
Do you command me to destroy what
The liars and tyrants have built?
Shall I uproot with my fingers
What the hypocrites and the wicked
Have implanted? Speak your insane
"In the depths
Of this valley our fathers lived,
And in its shadows they died, and in
Its caves they were buried. How can
We depart this place for one which
They failed to honor?"

I have called you in the silence
Of the night to point out the
Glory of the moon and the dignity
Of the stars, but you startled
From your slumber and clutched
Your swords in fear, crying,


Lady of silences


Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful


Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been contained
In the hollow round of my skull. And God said
Shall these bones live? shall these
Bones live?

Your souls are freezing in the
Clutches of the priests and
Sorcerers, and your bodies
Tremble between the paws of the
Despots and the shedders of Blood,. . .

And that which had been contained
In the bones (which were already dry) said chirping:

. . . and your country quakes
Under the marching feet of the
Conquering enemy;

Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,

what may you
Expect even though you stand
Proudly before the face of the
Sun? Your swords are sheathed
With rust, and your spears are
Broken, and your shields are
Laden with gaps;

We shine with brightness.

why, then, do
You stand in the field of battle?

And I who am here . . .

Play Act II

(vibration/chant inside the container)

G: (barely audible)
For this agility chance found
Him of all men, unfit
As the red-beaked steeds of
The Cytheræan for a chain bit


The glow of porcelain
Brought no reforming sense
To his perception
Of the social inconsequence.

Ae: (laughter)

G:(rising wrath)
Thus, if her colour
Came against his gaze,
Tempered as if
It were through a perfect glaze

The Lady is withdrawn

He made no immediate application

In a white gown,

Of this to relation of the state
To the individual, the month was more temperate

to contemplation, in a white gown.

Because this beauty had been.
The coral isle, the lion-coloured sand
Burst in upon the porcelain revery:

Let the whiteness of bones atone to forgetfulness.
Impetuous troubling
Of his imagery.
There is no life in them.
Mildness, amid the neo-Nietzschaen . . .
As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose.
G:(barely audible)
clatter,His sense of graduations,
Quite out of place amid
Resistance to current exacerbations,

And God said
Prophesy to the wind, to the wind only for only
The wind will listen.

Ae: (emerging from the container sniffing)
And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.

(groping towards G - contact,a searching)
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject.
(a call for thunder)

A: (wild drumming)

G: (rising)
Invitation, mere invitation to perceptivity
Gradually led him to the isolation
Which these presents place
Under a more tolerant, perhaps, examination.
By constant elimination
The manifest universe
Yielded an armour
Against utter consternation,
A Minoan undulation,
Seen, we admit, amid ambrosial circumstances,
Strengthened him against
The discouraging doctrine of chances,
And his desire for survival,
Faint in the most strenuous moods,
Became an Olympian apathein
In the presence of selected perceptions

Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert. This is the land which ye
Shall divide by lot. And neither division nor unity
Matters. This is the land. We have our inheritance.



A word about the process.

Each participant chose a text which they learned to an automatic state. The text was used as a vehicle to research impulse, associations, source, energy, vibration, obstacle and as a study to fully engage the self in a living act. This TexTWork was a distinctive and personal work.

The Practice was an exploration of meetings. Individual TexTWork was placed into a shared context. Improvisations led to a fixed, repeatable structure. The Point of Concentration was the Text and the possibility to open to the partner.

"Artaud wanted to make a spoken language metaphysical by making it "express what it does not ordinarily express." If words are to be effective, they must be manipulated like solid objects by the muscles of the chest, throat and diaphragm to act upon each other and upon the spectator. Artaud intended to make use of the language of words: . . . in a new, exceptional, and unaccustomed fashion; to reveal its possibilities for producing physical shock; to divide and distribute it actively in space; to deal with intonations in an absolutely concrete manner, restoring their power to shatter as well as really to manifest something; . . . and finally, to consider language as the form of Incantation." (ANTONIN ARTAUD IN THEORY, PROCESS AND PRAXIS OR, FOR FUN AND PROPHET BY RICHARD LEE GAFFIELD-KNIGHT)

All documentation, pictures and video executed by Raymon Montalbetti

Tuesday, March 23, 2004

Trojan Women

Strips of cloth that bind us

around woulds and mounds of flesh

of the dead and living

like mummies in a womb

faceless voices to the sea

bits of earth in our nails

as we wrap our grief

mothers sisters daughters

leaving ruins of the city

rituals saving our souls.

Ashes to ashes

soil in tongue

taste of Troy

mourning the dead

digging the graves of men

while daughters and sisters

wrestle with the demons

found in obedience and duty and place

lost in the landscape of his


visions of water washing

over rock
            Water wrapping, lapping

           your lips cold as rock

hard hands clap

you back to the living

chasms of holy fire

around you shrouded

limbs too numb

to feel the space

between child

and grace


ask for me tomorrow

invisible behind a mask

digging for relics of what was

beneath the clay

that lays dried

mosaic bits of bones

I swallow with waves

of water on a ship

singing of rocks

leaving Troy

:: note :: . . . the journal writing of a student while working on scene from Gwendolyn McEwen's translation of The Trojan Women . . .

Monday, March 22, 2004

. . . he thought of himself as suffering from the opposite of loneliness—which, he was amazed to discover, didn't have a name. Why, of the 600,000 words in the language, was there no word for the opposite of loneliness?" - Jon Hassler, The Love Hunter (About Last Night | TT: Almanac)

:: note :: . . . this quote was found in an AJBlog . . . TT has been a delightful read these past months . . . don't think I'd like to read The Love Hunter yet the quote resonates . . . [de]part[ing]WayfulWeary. . .

Sunday, March 21, 2004

""When you look at yourself as a director, you think you are too clever in certain aspects," Mr. Von Trier said. "The rules that you make for yourself should work against that. If I felt I was being a bit too clever and aesthetic about the colors, for example, then the rule would be, `You are not supposed to touch the color button.' So for my part, that's why my rules are changing all the time. I'm looking at myself from my mentor's point of view."" (NYTimes | Movies | Dogme: Still Strong, but Less Dogmatic By DAVE KEHR)

:: note :: . . . philosophy of change . . . re-imagining the act[ion] . . . setting yourself obstacles . . . looking at yourself from your mentor's point of view . . . while working it seems so important to trick oneself and not fall into the easy, learned tricks of the trade . . . entering the limits of what is possible without a violation of the nature of what you are doing . . . to allow the change or rather see change as an essential implication . . .

max streicher

Saturday, March 20, 2004

"Rather than embarking on a lengthy systematic process of complex theory
building, they tend to speak in basic truths --pithy statements that
contradict conventional theory yet are found true in practice, they
think in aphorisms, and they explore with heuristics." (Networking, Knowledge & the Digital Age | Words to Live By)

:: note ::. . . often felt
shame when speaking in aphorisms or adages . . . perspective has
changed . . . it has always been an attempt to be simple . . . when
confronted with the complex . . .  . . . there must be a simpler
way . . .

Friday, March 19, 2004

Thursday, March 18, 2004

"And the answer, the necessary starting point, is that journalism comes in many forms and many varieties. It isn't a "thing". It is a loose and living concept, a trawl for facts or for slivers of truth conducted within enduring traditions and with some imposed disciplines (including the right to answer back). How does the theatre cope with all that?"(Guardian Unlimited | Arts | Features | Extra! Extra! | The new journalism isn't in newspapers - it's on stage. But can this version of the truth be trusted? Peter Preston investigates )

:: note :: . . . not so much whether journalism is theater . . . but a stimulating discussion about facts & art . . . do they work together . . .

Wednesday, March 17, 2004

"In 1964, Prof. Katz became director of the LINAC laboratory and ushered in what Prof. Bergstrom argues was a golden age of nuclear-physics research at the university with students and visitors coming from all over the world."( | Saskatchewan's atomic champion By STEPHEN STRAUSS)

A picture named katz.jpg
:: note :: . . . it was Dr. Katz who brought my father to Saskatoon to conduct research on the LINAC . . . I remember these exact words . . .
"What he didn't do, he would later tell people, is accept an offer to work on the development of the atomic bomb -- a weapon he considered should never have been dropped on Japan."

. . . the values which surround one growing up, whether expressed or simply lived, nuture the path one follows . . . I distinctly remember Dr. Katz as a paradoxical kind, gentle and fierce man who admired my father and coaxed him into being his successor as Head of the Physics Department . . . I saw him through my fathers eyes as his mentor . . . I learned that in our lives we will have mentors . . . those who will shape our being . . . those who with their energy and force will create our "golden age" . . . it is important to select (be selected) by the generous, by the respectful, by the humble, by those with an unbiding love of knowledge . . . peace be with you and those loved . . .

Tuesday, March 16, 2004

Dogbarked by James O Shea is an original, new Canadian script produced only for its second time by Persephone Theatre following its original production by Dancing Sky Theatre in Meacham Saskatchewan in the Spring of 2002. A perfectly suited play for a Saskatoon audience which explores with humour and wit the rural prairie experience and its perceptions of urban exploitation. Playwright James O Shea captures the unique voice and essence of rustic Saskatchewan and even, at moments, transcends the specific to embrace the universal tensions between urban and country life. A well crafted script shaped with precise appreciation and understanding by director Del Surjik.

Dogbarked received the high standard of production values from Persephone Theatre that one has come to expect from this professional company. A well balanced and thoughtful stage, lighting and costume design formulated to serve the action of the play and create a vivid, rich environment for the actors. The entire event was that of a strong, conventional and well made comedy given a traditional performance which rarely challenged either the audience or the artists.

Artistic Director Tibor Feheregyhazi assembled a remarkable cast and crew reuniting outstanding Saskatchewan exports (director Del Surjik) with a sensitive mix of home grown experienced (actor Robert Benz) and fresh (actor Tricia Brown) faces . The cast and crew created a working team which took great delight in holding up a tongue-in-cheek mirror to their own follies and foibles. The physical humour, sound and sight gags and varied pace of the play left all in the audience fulfilled and entertained.

Each individual performance played selflessly to enhance the whole ensemble. It is a pity only one female role was required in a community where so many strong female actors reside. Language is important and it is so vital for a community to hear and see itself reflected and represented. The communal act of laughing at oneself can not be underestimated. Issues which would normally spark controversy; sexual promiscuity and same sex relationships were presented in a trippingly light and unobtrusive manner. Persephone Theater has clearly allowed its audience a wonderful opportunity to celebrate its own peculiar regional humanness and to earn some measure of respect by being so wonderfully depicted where they have so often been ignored.

In its solid production of Dogbarked, Persephone Theatre has executed the mandate of selecting a promising Saskatchewan playwright, hiring an accomplished Saskatchewan cast and crew to entertain an enthusiastic albeit slightly aged Saskatchewan audience with singular quality and success.

Monday, March 15, 2004

"2. The National Theatre is not a school, a museum or amusement hall"

"Theatre can handle politics - Brecht showed us that. But politicians never know what to do with theatre. The Right want it to be unsubsidised entertainment while the Left would prefer it to be a branch of the education and social work department. Nationalists tend to want theatre to preserve old languages, old plays or old writers simply for the sake of cultural heritage. A living theatre uses the work of the past to speak to the people of the present. It presents work which offers intimations of the future. It encourages restlessness and it offers possibilities. Let the National be a living theatre. Anything else is the equivalent of performing native dances at buffet dinners in expensive hotels."(sundayherald | Our New National Theatre ... Like An Elephant Let Loose Upon The Machair | We asked playwright David Greig to script a manifesto for Scottish drama. This is his vision for the future.)
via The Literay Salon

:: note :: . . . besides being a great title many items to ponder . . . really question the notion of a national theater . . . the age offers trans/global/multi theaters . . . from the specific towards the universal back to the archic essence . . .

Saturday, March 13, 2004

her own shards of imagination
lacerate the clear, cold shrine

each fragment an excavation of perception
refusing reduction echoing translucent glories

occupation & resistence build opulent entrancements
energetically revising impulses of lyric intensity

a choreographic, illuminated tessera flaming
our uncensored random miracles of shared intelligence and heart.

Friday, March 12, 2004

"A lot of media have suddenly taken notice of an artist who has been well-known in Canada since the 1970s. They have taken notice because he was recently awarded the Governor-General's Award for visual art. Now that they have taken notice, they have decided they don't like him, that he is a charlatan and an outrage and a waste of taxpayers' money. "(Globe&Mail | Entertainment | Russell Smith By RUSSELL SMITH)

:: note :: . . . at the same time as wood s lot . . . with his William Ropp's site link, sent me to this feed which led to a reminisce about Otto Muehl, Nitsch and the whole Vienna Aktionismus . . . I encounter the almost trivial and petty discourse of art today . . . at least the prattle of newspaper journalism . . . three years ago newspapers were my daily read . . . today it is the blogosphere . . . what a wonderful difference . . .

Thursday, March 11, 2004


of forgiveness
we are . . . .
. . . . not . . . .
the heart
no less
. . . sliding into thaw . . . .
a strata of
tunneling through
. . . . history . . . .
the significant trait
exposes malignancy.
. . . . surgical removal . . . .

Wednesday, March 10, 2004

"Tim Nowlin has written of Spalding's Canadian landscapes shown in the 1996 exhibition Imagining Eden: 'Hovering between representation and abstraction, the paintings support multiple, contradictory readings, and there lingers, ever present, the possibility of the abyss.' "(Concealing/Revealing | Voices from the Canadian Foothills)

A picture named jeffrey_spalding.jpg
:: note :: . . . a stirring & insightful memorium interview concerning Toni Onley has played inside me for over a week now . . . it is this power to live in the memory of others i need to capture . . . point to Jeffrey Spalding . . . there resides the spirit and the spiritual that Onley carried . . .

Thoughts on Grotowski

Instant message from Paris - July 24, 2003

i had some thoughts in the middle of the night in my sleep, so i got up and wrote them down

i thought of the work of grotowki, what did he find at the end of his death?

grotowski opened the new branch i can not find the better word now, not a new genre, it could be still the theater genre, but different branch

i think that it is the work, it is the character of the work, the reason why they are careful to open it up, not because it is sacred or in process, that is what the work requires,

i have been thinking of the korean traditinal singing a lot

in korean, we learn the traditional songs by orally, only oral passing is accepted, still now, nobody can change it, it is nation's agreement through the tradition

any country that has this oral passing tradition will not surprise by it,

but, songs can be passed orally because it is songs, but how about theater? how can we pass? and what to pass?

theater is instant art work in the form, there can not be existed the theater tradition, never ever, only we can read or watch through films about it, but there is no way to pass the theater work, is it really? is there any way to pass the theater tradition? or not?

passing the theater tradition,,, this was the big key for grotowski in the time when he was dieing with his sickness,

grotowski thought a lot, passing the theater work, but how? and what?

stanislavski, where is his work? who has passed in stanislavski work?

now what we have is the books

that is why so many interpretations can exist of his work, because now, nobody saw his work

we can say theoratically of his tradition in theater, but it is very light, rarely done well,

so, grotowski thought how to pass the theater work (or whatever we, he call his work) pass in practical way, in practical way was the key for grotowski, that is why he did not spend much time to write books at the end of his life,

he spent his most of the time to work with richards, because of the practical work that is what grotowski wanted,

like now, not many people saw constance price, acropolis con fugurim, so we have only the myth or gossip of those work, there is no real tradition of grotowski theater work

and i watched constance prince throught the film, was still good, but so, how i can do it now then?

even you watched those works, but how can you do it?

that was the big question for grotowski,

the article that i asked you, grotowski last writing in the magazine, he wrote it in the article

that is why i asked you to find it, i thought that maybe grotowski wrote some hint what he found how to do, if he had found at that time;

but anyway,

so, the songs and dances can be passed on through people

the oral tradition can exist in the songs and dances, but how about the theater? richard caislak would ask us to do what he did? or we copy the constance price as possible as we can? is it passing the theater work?

in theater, it is not possible

passing the work by oral, in practical way, it does not work in theater genre,

all what i am talking about is what i have thought, raymon, i really do not know what grotowski had questioned,, all what i am saying to you is all my qestions, ok? do not misunderstand please,

but in the arts, there should be some way of passing the work, must be, otherwise the work will be the beginning and starting all the time,

and that happens in theater in reality very often,

theater company has done the same mistake over and over again, very slow improvement in theater genre

so, how about songs and dances with action? if theater is a total art in the form as we say it,

and if the action can be carried by songs and dances or movements, then theater might have a hope to pass the tradition,

then we do not have to study stanislavski; the work of century ago, we can go to the next step, if,,, if theater tradition can be passed,, if there is a way to do it,,

now we had grotowski who tried to go to the next step from stanislavski,

but nobody knows who is going to the next step after him,

who is going to find how to do the theater work such as the constance prince again,

maybe a few centuries later,,

so, he wanted to find how and what to pass in the genre of theater

he studied the songs and dances which we call as the tradition work

how the korean traditional songs can pass down centuries and centuries and still now, it does not die,


why people want to learn those old songs in present time and why people want to watch those old songs which they know every story already again and again?

in korea, we have only 5 songs if i divide them in big, but one song runs for hours and hours,

but we know all the stories and sometimes we know some parts of melodies, and why we still want them?

so, maybe the songs and dances can give me what it has, what is the power undieing,,

that is what grotowski studied in those countries where he stayed for a long time before his death

richards said that not all the traditional songs can be used

it has to be free from the limited regional area, so, if the song has too much ethnic and regional restrict,,,, it must be free from it,

and the second, the song must function as a tool for inner action and not all the traditional songs can do bring the inner action,

this two things are the very important hint to understand the work

if the song has pretty wide effect regionally (grotowski does not mean the geographical region, more cultural and the life style or force or tradition, that kind of division, richards talked about it in his book details)

and can carry the tradition(or power of life, the message to human beings,,,)

then the inner action can occur,

that is the very important point where grotowski work goes towards theater in genre rather than staying in the songs and dances,

so, his last work is the under the genre, theater,

but the korean traditional songs, it is the under the genre, music (or singing)

we do not call it as a theater, some people has rooted back the korean traditional songs are the beginning of the theater though, but still itself is the singing genre

so, in order to understand the work of grotowski, the inner action is the key, at least to me,

because i know the traditional songs and dances in my culture, but not the theater, or inner action which makes it as the grotowski work essence

whatever the tradition brings us, if we could understand it, its power of life, its message for human beings, its development philosophically for human beings,

then we could use the songs and dances to bring those essence in the present time, and the inner action occurs which is individulaly different, but there is songs and dances so, we still could pass down the work, this is revolutionary,

this is revolutionary in the genre of theater, while we learn the songs and dances, we do not stop there because we go to theater not singing or dancing,

in order to go to the theater, the inner action is required and the work is meant for it,

inner action, this is the big key,

even though it is different individually so, we can not pass down what i did to other people,

but not the inner action, we pass down the songs and dances that will bring the inner action to the individuals who are learning those songs and dances,

that is why grotowski was very careful to select the songs,

he had to find the right songs which means that will work for doers at that time such as richards or mario

but after his death, they are still select the songs very carefully and sometimes composed by them, as long as they understand the process, they could add the missing part from the ancient songs

and those ancient songs that have been aliving and passing down for almost humans history,

can be cought by the doers because the songs must have something to have been passing down so long time, it must have something,

so, here the concept of time can be presented,

richards said that this work is really depending on the time how much you have done, so it can not be the same with the work of mario and the new person who just got in,

that is the same in korean traditional songs, the person who has done for entire their life or for 10 years and the new person who started just now, you cannot compare, that is very wide spread agreement when we listen to the songs, we understand the songs depending on the time of doer

this time is very important to me,

because in the normal theater , we accept only the talent or new face very much than the time, and also some actors who have done acting during entire their life and still bad,,

the time does not work all the time with the normal theater

but the korean songs and richards work (as he said) time is very respected and which should be,

of course some times, more talented or gifted person can do very well as a beginning, but to learn the songs and dances, the talent is not enough, and in korea, we do not consider the traditional songs and dances just for a few years, it is about at least for 10 years,

we talk about one person's life

and so many similarities exist in between richards work and korean traditional work

also, differences exist between them because ones are songs and dances, the other is theater,

and also at this moment, my question of witness can arise,

i shared with you before,

because the singers and dancers in korea, they are doing for themselves, but they are very aware of audience, and we agree that the singers and dancers can meet the audiences also for the doers time to time,

and the audience receives so many things, how can i say? why korean people go to listen to the traditional songs again and again if the work is only for the doers, my answer could be no, at this moment,

the audience or witness can recieve some very srong, that is why people still go to see and listen, maybe some life forces, or some traditional existence as educational way in the arts . . . i am not sure, but when i went to those shows, i did not go there just for doers, also for myself,

the korean traditional way of learning, it is isolated very much, they go to the forest or the country side and practise, practice and practise, and then coming to the town to share or to show what they have done, and town people immediately know how much improved their work or still stay in the same level maybe because of some worldly problems for the doer that does not make the doer concentrate

on his work or . . .

so, to me, grotowski work at the end of his life,

it is revolutionary because he has examined the way to pass theater work in the practical way

and there are the songs and dances to pass down to but richards said that he has learned the inner action only from grotowski in his book and in the symposium,

and that is the key, the inner action, that is what grotowski has found at the end of his life and passed to richards

the inner action makes grotowski work as essence because it is the under the theater work, and because it is the tradition bringing,

the second one is very important to me, the tradition bringing, we can be free from the self-indulgent, and really was,

if i do something just because of my own personal problem, then it is really dangerous to fall in to the self - indulgent, we are human being, theater is dealing with the humans problem, it is very delicate issue; is it a character or is it an actor? i think that this question has been asked for centuries,

but with carrying the tradition can solve this problem very clearly and in very cool way to me

that is not one's personal any more then, with the tradition, it gets more than that, it goes deeper and very safe for the doers, they can go almost any direction, and still it carries the tradition, it does not lose its dignity, openness, right distance,,,

that could be the merits of tradition

but to me, the tradition was the negative when i worked in korea as i told you before

i felt that i was trapped in the tradition, whatever i do has been done before, that is quite disturbing and made me crazy,,

whatever i do has been done before,,, this could be the merits, but i did not know the inner action that time, so i just simply learned the songs and dances, so i learned very shallow level as just copying level, that was why i felt of the trap, if i tried to learn what the traditional songs could carry to me, then i could grow a lot, but i was not grotowski

even though i feel that something happens in side of me during work, i do not know what to do with it, richards said that not manipulating,,

in practical way, i could not have a clue,

not manipulating is the start and the end,

that is my understanding as theoratically, but how to do in practical way,,,

he said that he has resisted to shape what doer was doing, resisted to manipulate, resist, resist, and resist, when i went to see their work in pontedera, before the second work, the twin, it is what he said to us,

but i do not know what that means in practical way

i learned the differences between controlling and guide from katherine' workshop,

controlling could mean manipulating? i am asking to myself, that is the big question to me now, how to work with the inner action or something happpens in side of me, how to work,,, what to do as a doer and what to do as a director

these are my thought last night suddenly middle of my sleep

when i thought of this last night, i was quite excited with my new discovery of grotowski work,,, i could not sleep well after that with too much excitement . . .

Ae Ran Jeong

Tuesday, March 09, 2004

eyes closed

sometimes i close my eyes all night long
because i like the unspoken tangled with breath
for what is visible carries us inside
to a place so deep
across what can't be crossed
on the verge
broken open
opening into orchards of empty space

Monday, March 08, 2004

the more we surrender

sounds come close to us as deer
bees drown in blossom heavy oleander

as a spring crosses the courtyard
and it is suddenly clear

the land drawn on maps is real.
Entire fields of sunflowers between Istanbul

and the coast. White steps down to water.
Bees there on a pitcher, and yes, it is wet.

(from Tenderness Shore. Meredith Stricker)

A picture named labyround.gif

:: note :: . . . working text : spent the better part of two days re-installing radio : broken now mostly fixed and managable (i think&hope) : huge patience : till the next time . . .

Sunday, March 07, 2004

trojan women

fragment blazes
...tatters hanging from wrists
faces shrouded ...
voicing torment
ritual longing
peace be with you.

Saturday, March 06, 2004

A picture named p_quote.gif
"What do facial features means in an age where face transplants are possible and new eye/hair color can be bought at the pharmacy?

What does your name mean when you can change it whenever you want?

Do you really have a home address?

Identity is not defined by a set of factors that specify an individual's physical manifestation but the influences which determine their mindset.

A matrix of locations identifies the individual inasmuch as we understand the peculiarities of the locations listed. The relationship between five slots and the qualities of the specific entries do not define the identity of the card holder, but create a field of relative identity.

New York today, Graz tomorrow, just want to relax in Oaxaca.

Where have you been?
Where are you now?
Where are you going?
Where did you begin?
Where do you wish you were?

Global identity is derived from a glimpse of our movement through time. Answering the five questions on this card tells one who you are now and who you may be tomorrow."( | Rethinking Global Identity)

Friday, March 05, 2004

"The Invisible Actor Training invites what is invisible and silent, the unchanging presence beneath all art. This pedagogy is not only a marriage of practices and poetics, but also a way of being—present, transparent and free."(Theatre of the Invisible)

Wednesday, March 03, 2004

""Each type of mushroom has a different melody; it's their way of expressing themselves. At first the music starts gently but then it grows stronger," he explains, smiling broadly."

"Swinging his large basket containing a mushroom encyclopedia over one arm and clutching his pen and paper, Halek slowly makes his way through the forest. As he pauses and stands still above the cluster of mushrooms, lost in concentration, he attracts bemused stares from passers-by."

"So far, says Halek, a composer by profession, he has documented the melodies of 1,700 different types of wild mushroom across the country."( | Vaclav Halek: Melodies of the Mushrooms posted by Katka Krosnar)

Tuesday, March 02, 2004

"In the 1990s, the Internet connected us to a planet-wide web of information-all the zillions of bits that are stored in computer memories and hard drives. But now, thanks to an ongoing revolution in highly miniaturized, wirelessly networked sensors, the Internet is reaching out into the physical world, as well."

""We call it 'the Embedding of the Internet'," says Deborah Estrin, director of the Center for Embedded Networked Sensing, a multi-university research partnership that was launched in August 2002 with funding by the National Science Foundation (NSF). "And it's going to transform our ability to understand and manage the physical world around us.""(context | the sensor revolution)

:: note :: . . . lots more . . . thinking about emotional sensors . . . physo-physical sensors that extend into understanding acts of imagination . . . pure science fiction to me . . .

Monday, March 01, 2004

"Why is cultural studies - as in space and culture important? In its interdisciplinary, and even wreckless, boundary-crashing "trans-" disciplinarity it represents the future of the humanities and liberal arts. Taking on the politically engaged style of 20th century intellectuals, and learning from the social sciences critical understanding of the social construction of facts (note I didn't say all of reality) produced a new field which does much more that (re-)articulates the traditions of cultures and is responsible to a historical corpus (a kind of conserving approach). Its academic practice is out of the ivory tower and into the town, reflecting on everyday life in the hear and now. That makes the corpus of "great books" relevant and allows historical insights to come alive and mix into the soil of lived places."(Rob | Canadian Association of Cultural Studies | space & culture)

:: note :: . . . a whole new set of places to link&lurk . . .