Monday, December 31, 2007

rites of passage

How on earth ... to move beyond the skin line? ... to reconnect with our dreams & visions?

May there be more Compassion, Wisdom, and Peace for all!

Saturday, December 29, 2007

Tu es et juis suis

Tu es la vague de la mer, moi, je suis ton galet
Toi, l'aiguille, et moi, ton fil
Tu es ma flèche, je suis ton arc
Tu es l'acteur; je suis ta voix
Tu es ma mémoire et moi, la nostalgie
Toi, mon encre, je suis ta plume
Tu es le rateau, je suis ta feuille
Tu es le masque et je suis le modèle
Tu es la neige et moi, tes traces de pas
Tu es le brouillard de mon aube
Tu es la solitude de mon vide
Tu es mon talon d'Achille et je suis ta faiblesse
Tu es le cri et moi, le silence
Tu es la rage et je suis le pardon
Toi, ma larme et je suis ton rire
Tu es la fedélité et moi, la trahison
Tu es l'attente, je suis le voyageur
Toi, le labyrinthe et moi, Icare
Tu es ma tragédie et je suis ta farce
Tu es la tyrannie et moi, la révolution
Toi, Phedre et moi, Hippolite
Tu es mon théâtre et je suis ta vie.
- by iryn - See: Poetry :: note :: ... poem recieved ... & spoken translation into my ear ...

Thursday, December 27, 2007

Turtle

A picture named LipTurtle.jpg

Turtle on display at the airport created by a Georges Vanier Grade 2 student. Studies of lace patterns in nature.

- See: Terms

:: note :: ... go inside for protection ... bury seeds in the sand ... flow in the water ... ground yourself with a power stance ... the red lips ...

Saturday, December 22, 2007

Howl

A picture named hanging drum.jpg Full Moon ... Winter Solstice ... Time Lines ... "We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time." (T.S. Eliot, Little Gidding) - See: Terms :: note :: ... coyoto howls ... there on the floor ... there's a hole ... there's a hole ... there's a whole in my mukluk which the world will see ... there's a toe ... there's a toe ... there's a toe in the hole in my mukluk which the world will see ... there's a rabbit on the toe in the hole in my mukluk which the world will see ... there's feathers on the rabbit on the toe in the hole in my mukluk which gaia does see ... there's a pouch ... there's a pouch ... there's a pouch in the hole in my mukluk in the bottom of the .... " just gimme that pouch" - & rabbit did ... it was cold ... it was cold ... it was so cold for coyoto ... clutching the pouch ... leaving rabbit with a whole in the mukluk this mid-season ... not knowing barely showing the tears ... pulling the old grey oilman hat down over the eyes ... hiding the face ... howling silent cries in that short day when the sun shines brightest ... oh and the moon ... the moon ... the moon that watery mirror ... there's a song ... there's a song ... there's a song the hole world will hear ... so take good care gaia ... play ...

Friday, December 07, 2007

Karlheinz Stockhausen

obituaries - See: Memorium :: note :: ... it seems this time of year every year is a passage time ... Stockhausen introduced me to the idea of avante garde arts ... for that eternal thanks ...

Thursday, December 06, 2007

Norval Morriseau

IN MEMORIAM: NORVAL MORRISSEAU - See: Artists :: note :: ... opened me for one to First Nations art ... as a young adolescent the Norval Morriseau body of work was a fascinating introduction which has continued ...

Monday, December 03, 2007

Memekwesiw

"According to traditional knowledge, the Memekwesiw offer guidance on natural medicines and how to live life in harmony with Nature. They are said to be about the same height as two-year-old children, but are easily distinguishable from them because they have no noses. Memekwesiw in the La Ronge region are said to live in caves carved out of the rock near the lake's shoreline."(Virtual Saskatchewan)

- See: Terms

:: note :: ... during a medical crisis over a decade ago it was such a memekwesiw that healed me ... listening to Ideas tonight brought it all back ...

Saturday, December 01, 2007

sex, language & religion

"Theatre of Catastrophe takes as its first principle the idea that art is not digestible. Rather, it is an irritant in consciousness, like the grain of sand in the oyster's gut... "(Theatre of Catastrophe)


"More specifically why this violent use of language? What purpose does it serve? Sometimes it is violent. Sometimes it is tranquil. The two states
coexist. But the violence of the tone is only a reflection of the passion of the
character to discover his or her freedom in a world which is insufficiently
gratifying for modern man... which is in fact, shrunk. This cry of violence is
a cry for more authentic experience than is available, not only from society,
but possibly - horror of horrors - from life itself"
(Challenging Conventions An Interview with Howard Barker by Gilles Menegaldo University of Poitiers)


- See: Theater

:: note :: ... sex, language & religion are the greatest obstacles to theater education ... schools are unable to adequately deal with "issues" ... the small minded political correctness dominates those with a disposition to virtue ...

Saturday, November 17, 2007

The Ecstasy of Rita Joe

A picture named RitaJoePoster.JPG

This year marks the 20th commemoration of George Ryga's death in 1987, as well as the 40th anniversary of the premiere of The Ecstasy of Rita Joe. The Ecstasy of Rita Joe was the first play in English to be presented in the National Arts Centre Theatre in Ottawa in 1969. For several years afterwards it shook the nation. Chief Dan George wrote in the preface of the first publication, "this play carries a message all Canada should hear."

After dress one Rita Joe actress commented, "I needed to understand situations. I've led a pretty sheltered life and this project took me on a journey of understanding the many First Nation issues. I thought it could never happen to me or in my community. I know it is and if we don't stop it now it'll go on forever. It's not about coming to a play for entertainment - it's a way of seeing other realities." The student next to her responded. "I'm reminded of my Grandmother. She was Metis and a rape victim. My Mom says the guy received a light sentence."

Thank you for coming and supporting. To share with you is our honour.

"People who are forgotten are not forgetting. To overlook them is a dangerous delusion."
- George Ryga

"If the very old will remember, the very young will listen." - Chief Dan George in My Heart Soars.




- See: Theater

:: note :: ... process has a long tortured saga ... three years ago the then administration team deemed an adapted high school project of the Canadian classic inappropriate to perform ... despite a concentrated effort the already in progress project was suspended ... attempts to collaborate with First Nation partner educational institutions largely met with indifference ... a new administrative team provides unbending support and this coming week the community schools have responded by sending over 500 elementary school children to witness two matinees ... thanks to all especially to the spirit of resistance & the struggle for cultural justice that informed the faith of George Ryga ... in his honour and honouring all the marginalized we dedicate our work ... wishing all involved students strength of spirit ...

Saturday, November 03, 2007

Kihew

A picture named kihew.jpg



- See: Theater

:: note :: ... Saskatchewan Native Theater Company's Circle Of Voices program completes its first weeks run of their 2007 piece ... Kihew cuts deep into the political/family/spiritual dimensions of the compensation package offered to those who survived the canadian residential school system ... the youthful energy of the group is harnessed in a wonderfully shaped story rich in irreverent humour, resonant in the range of emotions from anger to forgiveness and a soul abundant with message and hope ... the entire production team works with an exquisite touch serving the story which opens our hearts ... we are invited to listen for the complexity of the world, to deal with hidden pain, find a survival song which will sustain and nurture the way and soar into the future with "indian soul" ... much joy and passion to cory, demitrius, deidre, aaron, jaired and danny as they travel the journey of Kihew ...

Friday, November 02, 2007

Dream

Dream.

Travelling an unknown city the controlled panic in the streets forces me to flee. Get out before further destruction results screams an inner voice. I start out on foot as traffic jams block all highways. It is a steep climb.

A short time later am standing before a high rise building. Looming out of nowhere in a sparsely populated hilly region I recall a friend, recently gone through a messy divorce, gave me this address and I ring for entrance. A reassuring voice calls me up. His beautiful one room kitchen/liviing room, large glass windows looking out over the valley seems empty as he rushes out the door. "Will be back later - make yourself at home."

Moving into the two other rooms they are full of beds and cots with no space to move. I select one and fall exhausted to sleep. In the darkness figures move in and out.
Waking I and go out to the kitchen where my friend is eating. We visit when suddenly people rush out of the other rooms shouting at me.

Something is in my bed. Running to the door I see a small but poisonous snake. It must have somehow hid itself in my clothing. It lay poised.

A small talking mouse ran into the room instructing me to be aware as he would lure the snake into a corner. Sure enough the mouse was trapped and I called out for help and watched helplessly as the mouse was swallowed whole. Grabbing the snake I finally received a knife and deftly slit the throat of the snake releasing the mouse which slides out dead.

Both creatures lie dead at my feet.

Awake.

- See: Dreams

Sunday, October 21, 2007

Tree

"Simple in concept, complex in execution, he makes us look at a tree in its natural surroundings, but separates the tree artificially from nature by presenting it on an immense white ground, as one would see a painting or photograph on a billboard."(lensculture |Myoung Ho Lee)


- See: Art

:: note :: ... seems like still theater ...

Tuesday, October 09, 2007

Hangul Day

"October 9 is Hangul Day (한글날 Han'gŭllal), an annual commemoration of the 1446 proclamation of the invention of the Korean alphabet by King Sejong (세종) and / or his scholars. Hangul is the most sophisticated writing system actually in use for a real language. "(Polyglot Vegetarian)


- See: Terms

:: note :: ...excellent post ... a special day for us ...

Saturday, October 06, 2007

the best

"Hi there ... cést moi quietly celebrating seven years of the "s lot""(wood s lot)


- See: Artists

:: note :: ... absolutely the best site on the web day in & day out ... for seven years now ... thanks for the brilliance ...

Friday, October 05, 2007

World Teachers' Day

"On October 5 each year, teachers' organisations worldwide mobilise to ensure that the needs of future generations are taken into consideration."(World Teachers' Day)


- See: Terms

:: note :: ... what mobilization? ... just another day ...

Saturday, September 29, 2007

visa

the 22nd floor of a glass tower

just glass, marble

the air of tension & power

harsh, cold, curt intercom scratched voices

staccato syllables

false politeness with a spirit of fear & suspicion

a blind behind glass opens to a faceless face & mute reflections


at least the elevators sing

whistling a mating call as they pass each other

let the glass and marble mate

speedily the breath of up and down

as humans degrade each other to the baseline


slide all documents to the end ...


- See: personal

:: note :: ... written in an consulant waiting for a visa application ...

Thursday, August 30, 2007

back

... back ... from where: Kenora, Neys Provincial Park, Alogonquin National Park, Laval Quebec, Quebec, Baix St.Paul, Ottawa, Toronto, Niagra Falls, Rock Lake & environs, Lake Superior Provincial Park (Agawa), Sleeping Giant Provincial Park ... was inspiring ...

- See: personal

Wednesday, August 01, 2007

whitewater widowmaker

the boy child riding the currents

seeks out rapids

rests impatiently in the eddies

paddles strong broad strokes

splashes the water with joy & falls for the fun of it.


the boy child wonders at the awe of the morning wind

blowing west hard

streaming through unkempt hair

cleansing heart, soul and mind

as sunlight diamond dances the water top

piecing the eye demanding vision cleansing.


the boy child quiets to listen to the crashing water flow

the smell of water spray

torrents of whitewater change

& the memories of kananaskis, king creek, wedge pond, canyons ...



- See: Personal

:: note :: ... preparing/cleaning out unused pockets for this summers trip came across these "notes" from last excursion ... time passes ...

Sunday, July 29, 2007

destiny

if destiny is a choice than what we choose is destiny

if choice involves knowing the shadow than shadow involves choice

if choice is limited to right and wrong than possibilities are limited choices

if possibility is a response to choices than what is chosen demands responsibility

if responsibility to all we have imagined and created is a choice than choose destiny



- See: Term

:: note :: ... a young man stood before me passionately living his destiny ... he told me it was his choice ... silently I felt life is all possibilities therefore if theater is our wish, than theater we get & I witnessed great theater ...

Friday, July 27, 2007

spirit mentors



Waldman on Theater


- See: Theater Image

:: note :: ... as sessions end with young circle of voices think on my spirit mentors ... did not see Constant Prince but did see the next works & more ... Max Waldman documented an important theater moment ... everytime I work thanks go to Grotowski's Actors Lab ...

Thursday, July 26, 2007

two artist one ...

A picture named Blake 1.jpg

- See: Memorium

:: note :: ... people influence you directly /indirectly /near /far /daily /once ... theresa & blake ... two artists entwined ... their passings l(ea)ive questions ... why we seek the where ... if bones have memory is the skeleton shape of memory a shadow cast within the flesh of living ...

Wednesday, July 25, 2007

Tibor Feheregyhazi

Tibor Feheregyhazi, 75

Young actor fresh from the Budapest uprising of 1956 sailed for Canada to become a behind-the-scenes powerhouse in Winnipeg, Thunder Bay and Saskatoon

F. F. LANGAN
Special to The Globe and Mail
July 25, 2007 at 8:50 AM EDT

NOWLTON, QUE. — Hungarian actor Tibor Feheregyhazi's accent kept him off the stage in Canada, but his production skills put him at the forefront of one of the most vigorous and determined theatre companies in the country.

A refugee from the street fighting in the 1956 Hungarian revolution, he spent 25 years reviving and rebuilding Saskatoon's Persephone Theatre.

"He was dynamic and seemed to take people over. You might even call him imperious," said Jeremy Morgan, executive director of the Saskatchewan Arts Board. He gave an example of how Mr. Feheregyhazi expected to be obeyed. "He wrote to an actor saying, 'I am doing The Tempest and you will be Caliban.' Even though the man didn't know him, he accepted."

In Saskatoon, everyone knew him by his first name. Few people could get their English tongues around the Magyar density of his family name.Tibor Feheregyhazi spent 25 years as artistic director of the Persephone Theatre in Saskatoon.

Tibor Feheregyhazi grew up in Budapest, where both his parents worked for Hungarian National Radio. His mother was executive producer of music programming for the national broadcaster; his father was an economic journalist.

The family lived just a few blocks from the radio studio, and when a child actor was needed, Tibor often fit the bill. His first public appearance was at 21/2, when he made a presentation from the children of Hungary to Tibor Mahan, head of Hungarian Radio. His first radio performance as an actor occurred at 4, and with a year, he was a regular on a drama series.

He attended a private Jesuit school on the shores of the Danube. The school catered to the country's elite, including at least one future prime minister. He excelled at Latin, a skill that got him in trouble at least once: The school had suffered damage in the Second World War, and students were excused from class if they volunteered to clear up the rubble. One day, they found a personal diary in the rubble. It belonged to a priest, who, as a confessor for some of his fellow priests, had detailed his colleagues' secret sins and desires. Obligingly, Tibor translated the Latin text for the benefit of his friends. Inevitably, he was found out. After that, the Jesuits failed him in all his exams and saw to it that he was expelled. The incident left him with an anti-clerical and even anti-establishment attitude that stayed with him all his life.

He switched to a public high school and enrolled in a five-year program at the National Hungarian Film and Theatre Academy. He continued to act on stage and on radio throughout his time at school.

He graduated in 1956, just in time to join the fighting against what he called a corrupt regime. He wasn't so much anti-Communist as he was against the Soviet-controlled government. After two weeks, the Soviet tanks arrived and resistance soon collapsed. Tibor and his friends left the country hidden in the back of truck.
"He used to tell the story of how he got out of the truck at the Austrian border to go back and get a handful of Hungarian soil to take with him," said his wife, Rosalie Woloski. "He was spotted by a Hungarian guard, who said he should shoot him, but let him go because he'd risked his life to go back for the soil."
He kept the dirt, and the clothes he escaped in, packed in a suitcase for the rest of his life.

In Austria, he was expelled after he was found with a gun. He went to nearby Italy, where he found work as an extra on the Rock Hudson movie, A Farewell to Arms. He even appeared in some of the promotions for the film. His wife said Mr. Hudson offered to sponsor him as an immigrant to the U.S., but the handsome young actor turned him down.

Instead, Mr. Feheregyhazi went by ship to Canada in 1957, getting off in Quebec City. Even though he spoke some French and no English, he was sent to Ottawa. He arrived on July 1 and found everything inexplicably closed. He soon located work in a camera shop and cleaning floors in a hospital, plus a menial job in a theatre.
After three years in Ottawa, he moved to Montreal to study at the National Theatre School, taking his classes in French. His first job after graduating was as a stage manager for the Canadian Players Company in Toronto.

In 1969, he joined the Royal Winnipeg Ballet as production manager. Two years later, the company was invited to be the first Western ballet troupe to tour the Soviet Union. Logistics difficulties immediately arose. The huge wooden crates the company normally used to carry costumes and paraphernalia were too heavy and too big to stuff into Air Canada's DC-8s, so Mr. Feheregyhazi solved the problem by reinventing the luggage. Finding a suitable lightweight material, he designed new luggage to fit the shape of the hold and was so successful that the company had money left over from its touring budget.

It was on the Soviet tour that Mr. Feheregyhazi showed the fiery spirit that endeared him to many but enraged others -- especially the KGB minders assigned to shadow him throughout the tour. One day, in what was then Leningrad, he gave them the slip completely. When they caught up to him, they countered by taking him on a tour of the Hermitage. To better keep an eye on him, they then had the place closed to foreigners.

Then there was the dramatic departure from the Soviet Union. First, a fight erupted over the Spanish passport of one member of the company (the Soviets boycotted the fascist Franco regime in Spain). Then there was the last-minute seizure of a male dancer - authorities were in the act of taking the man into custody at the airport when Mr. Feheregyhazi leapt over a barrier and provoked a major scene. After all, he spoke some Russian, and could yell in three other languages -- English, French and Hungarian.While all this was an embarrassment to the Canadian delegation, the ballet company and the Soviets, it had the desired effect. The authorities released the dancer and all ended well.

In 1969, Mr. Feheregyhazi became production manger of the Manitoba Theatre Centre in Winnipeg. He then worked as a freelancer for several years before going to Thunder Bay in 1978, as artistic director of the Magnus Theatre.

Four years later, Mr. Feheregyhazi went to Saskatoon to join the Persephone Theatre. Founded in part by Janet Wright, now famous as the woman who plays Brent Butt's mother on the TV program Corner Gas, the company had lively ambitions but was in rough shape. He worked so hard at improving its performances and raising money that the Persephone is now the city's favourite charity.

While Mr. Feheregyhazi put on many plays, from Shakespeare to local productions, his eye was always on the audience. At many performances, he would sit on the stairs in the back of theatre to watch the audience's reaction. Afterward, he would buttonhole patrons and ask, "What did you think?"
In 2004, he was made a Member of the Order of Canada in recognition of his work at the Persephone. He died just months before the company was to move to a new 450-seat home on the banks of the Saskatchewan River.

TIBOR FEHEREGYHAZI
Tibor Feheregyhazi was born in Budapest on Feb. 14, 1932. He died of prostate cancer on July 10, 2007, in Saskatoon. He was 75. He was married twice. He is survived by wife Rosalie Woloski and children Tony, Steven, Sara, Andrei and Natalie.

http://www.theglobeandmail.com/servlet/story/RTGAM.20070725.wxobfeheregyhazi25/BNStory/Entertainment/?page=rss&id=RTGAM.20070725.wxobfeheregyhazi25

© Copyright 2007 CTVglobemedia Publishing Inc. All Rights Reserved.
globeandmail.com and The Globe and Mail are divisions of CTVglobemedia Publishing Inc., 444 Front St. W., Toronto, ON Canada M5V 2S9?Phillip Crawley, Publisher.

Tibor

Tibor

- See: Memorium

:: note :: ... a wonderful life ... a theater worker of note ... thanks for shining so brightly ...

Monday, July 23, 2007

stars like praire dogs



- See: Video
Poetry

:: note :: ... an older video ... tech advances have made embedding & producing much simpler ... A rehearsal reading written & read by John Livingstone Clark composed by Ray Stephanson & Duane Dorgan. @The Temple Aug. 04

Saturday, July 21, 2007

summer reading

Ian McEwan's On Chesil Beach is a writing of precision and restraint. A period piece carefully recorded by a contemporary historian of the heart. Concentrated in purpose the story explicates the emotional territory of a particular yet universal moment: "They were young, educated, and both virgins on this, their wedding night, and they lived in a time when a conversation about sexual difficulties was plainly impossible." The pace is paradoxically pedestrian and relentless allowing the elegiac ending to leave traces of light regret and melancholy. Somehow the book disappoints. Lacking any verve or daring the final insight, though simple and true, renders unimaginative.

Tim Adams , Colm Tóibín reviews

- See: Novel

Friday, July 13, 2007

Zombie

A picture named zombieback.gif
A picture named zombie.jpgphotos by Iryn
"Knots? I queried myself in the midst of the chaos. I brought the words softly to my lips ... all sorts of things were connected. Some connections led to confusion, he'd said. Because I lost track of what I wanted. So were all my ties meaningless?"(Murakami. Dance Dance Dance. 94)


- See: Image

:: note :: ... just friday the 13th ...

Friday, June 29, 2007

He

A picture named he.jpg photo&words by Iryn

- See: Images

:: note :: ... yikes ... what to do now? ...

Wednesday, June 27, 2007

Dancingness Again

"This was a good sign. Dance. Keep in step, light but steady. Freshen up, maintain the rhythm, keep things going. I had to pay careful attention where this was leading me to next. Had to make sure I stayed in this world,"(HarUki MuRakAmi. | Dance DanCe DaNcE . 160)


A picture named throwingSandsmall.jpg


photo by Iryn

:: note :: ... thinking about dancingness as i begin another project ... to be in stride with a lift to the step ... awareness of space around sharpens ... an intent movement one step at a time (be present) ... focus towards a goal ... yet spiralling nowhere with nothing but throwing sand in the face ... apologies to Andy Goldsworthy ...

- See: Theater

Tuesday, June 26, 2007

Thanks

a picture of AeRan... to all who came ... thanks ... especially the one who makes it all worthwhile ...

Sunday, June 24, 2007

Grass Jelly @ AKA Gallery

A picture named grass jelly promo

- See: Theater

:: note :: ... saving for history ... found here at present but sure to be linkrot soon ...

Saturday, June 16, 2007

Flow

"People are not things, but flows"(MANUEL DE LANDA via rod corp))


- See: Terms

:: note :: ... find i often focus on the structure of things ... unable to grasp water but able to create a structure to hold water ... breathe the flow ... don't hold the breath ... swim in the water and catch the rhythm of the breath ... relationship as flow ...

Friday, June 15, 2007

Teens

"Our current education system was created in the late 1800s and early 1900s, and was modeled after the new factories of the industrial revolution. Public schools, set up to supply the factories with a skilled labor force, crammed education into a relatively small number of years. We have tried to pack more and more in while extending schooling up to age 24 or 25, for some segments of the population. In general, such an approach still reflects factory thinking˜get your education now and get it efficiently, in classrooms in lockstep fashion. Unfortunately, most people learn in those classrooms to hate education for the rest of their lives. ... In recent surveys I've found that American teens are subjected to more than 10 times as many restrictions as mainstream adults, twice as many restrictions as active-duty U.S. Marines, and even twice as many as incarcerated felons."
( Psychology Today | Trashing Teens)

- See: Education

:: note :: ... my experience verifies teens are tremendously competent ... they can organize, perform, facilitate and grow as well as any adult ... the article suggests they are not allowed entrance into the world creating infantilization and an adversarial relationship with adults ... by isolating young people they learn virtually everything from each other ... yes they do ... at years end did a simple check in/check out question asking what you most learned in grade 9 ... the answers revolved around social interaction & how to survive school ...

Thursday, June 14, 2007

FacebookGuide


Swift Kick Technology: A Guide to Facebook for School Faculty, Administration and Staff

- See: Education

:: note :: ... a reasonable guide ... believe the best advice is to know social networking & practice the flow of what that means ... no absolutes and a continual process/flow ...

Wednesday, June 06, 2007

TempleSpirits

A picture named templeSpirits.jpgpicture by Iryn

- See: Images

:: note :: ... the wind streams through the windows ... quick cooling after hot day ... the brilliant sunlight ...

Friday, June 01, 2007

poetry&terrorism

"Stevens's commitment to the effectiveness of poetry results in a dynamic definition of the art. 'It is,' Stevens states, 'a violence from within that protects us from a violence without. It is the imagination pressing back against the pressure of reality.' Poetry is both a shield and a sword. It not only protects us from those inimical forces arrayed against us, it counterattacks as well. His definition is especially bracing when one considers that 'It' - and this is apparent only if one has read the entire passage - refers not to poetry, but rather to the nobility of poetry. The distinction is important: Stevens wishes to remind us of poetry's power to preserve our dignity and maintain our spirit under excruciating circumstances.
"
(AGNI |A Violence from Within: Poetry and Terrorism by Kenneth Sherman)


- See: ArtistsSpeak

:: note :: ... imagination in terms of pressure ... zygmunt always talked about the proper pressure ... press a spring too tightly - it breaks ... too lightly and no thrust ... imagination in terms of dignity ... to do goodness means to increase dignity via forgiveness & thankfulness applying (care&admiration&)Love ...

Tuesday, May 29, 2007

treachery

:: note :: ... being treacherous in safe places ... this is new ... linking to myself ... creating emotional fire to burn off logic stubble ... a type of landscape/mindscape clearing ... seems to be not very advantageous & must deal with a lot of tearing smoke ... watch the wind & be prepared for damage control ...

- See: Terms

Sunday, May 27, 2007

untitled

:: note :: ... have spent some time (like most) with social networking, music, picture/share/tag/link/communication sites - MySpace, Facebook, Twitter, Last.fm, Flickr, del.icio.us, Google Groups & all ... have created an Avatar & spent minimal time in virtual realities ... rarely chat via IM ... have assorted RSS Readers ... have subscriptions to forums, make occasional comments & email ... spend quite some time blogging ... all of this due to curiosity & it seems to maintain a webimprint w[e]btr[pl]ace or webp[resence]ersona ... it has not created a large social network nor contact (thank goodness)... after years now still unable to articulate fully why do it ... of all the writing here @ if is the most fun & fruitful ... not that it communicates to anyone but writing to myself has been stimulating ... even the html/css/underthehood learning has been rewarding ... the time serves to loop back towards enriching the recording of self reflection ... two of my fav bloggers danah boyd & Dina Mehta have written much exploring the why and implications ... so continue I will with interest, energy, enthusiasm, abated excitement and abandon ...

- See: Social Networking

Friday, May 18, 2007

forever again

For a brief instant

at days end

the dancingness spoke quietly to the singingness

The theater

will always fade

I'm resigned

I'm resigned to

being memory

An actor with the gentle voice

whispered the harshest words

from the mask

as she courted

playingness

We left

with two empty hands

out of which

beauty revolved

as delicate as palms

centring the universe of the heart

You may no longer hold anything

not the twilight story

flute fading into the silent voice of your

peers and colleagues who had sung

in your circle

You are gone

All action will dissolve into

the living pulse

I'm pensive

Once more

will an old actor reciting alone

through empty space

text written by ancient forgotten players

wandering aimlessly

the lost landscape of shadow night

echoing out ...

O listener

share the mystery without turning away

let the time between us all

strip away false hopes

into the brilliant light

before the breath

exposes the fragile illusion which

so delicately flickers aura

forever again

forever again


- See: Poetry

:: note :: ... a workshop ends with quiet dignity ... am in awe of the theater workers .. many thanks ...

Thursday, May 10, 2007

Dancing Freely

Dancing Freely


A light

spring

in air

is like

a tiny determined

spider

scurrying

exposed

across the green carpet of dream

weaving silk web patterns

traces of stories

some deep, some delicately etched invisibly

strand by strand forever

seeding

imaginative pulses

of play and longing


- See: Poetry

:: note :: ... day three of a workshop ... beautiful work

Tuesday, May 08, 2007

Pet Sounds Exhibit

"I love this exhibition. It shows how juxtaposition and instinct and a freewheeling approach can make for curatorial brilliance, when passion rather than cold logic fires the selection. "I experimented with sounds that make the listener feel loved," said Wilson of Pet Sounds. That is how this show makes you feel."(guadian unlimited arts| Still waters run deep)

Organism by Fred Tomaselli

- See: Image


:: note :: ... the principle instinct & passion practised with diligence & imagination takes work & transforms the work into play opening into an intelligence of feeling ... that's what I think ... accessing instinct & passion requires a complex bundle of energy, excitement, enthusiasm with precise impulse following associations & abandon ... it demands being treacherous in safe places ...

Monday, May 07, 2007

Time

A picture named quote.jpg

- See: Image

:: note :: ... biking down back alleys came across this graffiti ... the bizzare thing is this post broke the last seven posts which will be fixed tomorrow ... i hope ...

Sunday, May 06, 2007

Bones Deep Inside

Listening To Bones Deep Inside

In the heart

a noble

heron

stands

the wind

bites

into harsh eyes

tightening ancient tools

a

sharp slap

the world

hears echoing

silence

still

holding

breath

quietly releasing

rip

rap

a complex movement

after

a

focused

gesture


(apologies to Listening To Mountains From Behind Iron Bars | SUMMER 07: Huang Xiang)

- See: Poetry


:: note :: ... one of my favourite activities is to find great writing and use the structure to activate my own imagination ...

Tuesday, May 01, 2007

Invisible Summer

"My job onstage is to be as open as possible, to weave the show without a script as it comes, and this leaves me very emotionally available and vulnerable, if an audience chooses to abuse that trust."(American Repertory Theatre Blog |A Night To Remember | Video of Disrupted performance)


- See: Theater

:: note :: ...a powerful statement of being onstage ... open & vulnerable ... trust in the audience when broken is a huge betrayal ...

Monday, April 30, 2007

Fake Science

Fake Science a smaller music seller.

- See: Terms

:: note :: ...iTunes needs a reality check away from the mainstream ... more choice ... less restrictions ...

Saturday, April 28, 2007

MapmyName

MapmyName



via Conversations with Dina


- See: terms


:: note :: ...risk digital grace ... gift each other connection for no particular reason than the joy of connection ... it is a risk to reveal info ...

Thursday, April 19, 2007

Moon Dog



A picture named foto © r.trepanier ca-nada">

A young girl found herself on the moon. The stars above seemed so close that she reached up with her right hand stretching her arm higher and higher till she plucked one from the sky. The star whispered quietly, "If you place me tight to your heart I'll grant you a wish." Trembling she pressed the talking, magical star to her wildly beating heart, thought carefully and hoping beyond hope wished for a dog.



Instantly the most beautiful dalmation she could imagine appeared at her side. Overjoyed and excited she flung the star out into the ocean sky only to see her companion run bounding after it. Just as the star disappeared into the Milky Way the gorgeous black and white spotted dog leapt, caught it and pranced proudly back to the moon.



She laughed pulling the slobber covered star from between powerful though gentle clenched teeth. Suddenly an icy chill crept up her back. Turning she saw behind her a most fearful alien. Panic gripped her. Before she could cry out the dalmation growled and charged at the alien who had no choice but to disappear into the night sky.



The girl boarded a space shuttle and as she headed back to earth thought we might all be safe if we all only had a moon dog like her.



- See: Writings



:: note :: ... this story was imagined by a student during a partner exercise in drama class ... it was retold & moved by its pure simplicity and beauty have freely adapted it here ... apologies to Annie & photo by r.trepanier ...

Tuesday, April 17, 2007

Chairorist

Officials give river art icy reception


Jordan Jackle
The StarPhoenix

Saturday, January 27, 2007


The fire department's water rescue team spent Friday morning retrieving wooden chairs from a frozen portion of the river in the River Landing area.After finding out about the chairs from concerned Saskatoon residents, surface divers used a boat and a rope to crawl onto the ice and remove them.

"We found out they were placed there by the Mendel (Art Gallery). It was form of art," said assistant fire Chief Bob Fawcett.

It wasn't done by the Mendel Art Gallery, said spokesperson Betsy Rosenwald, but rather an artist with an installation at the gallery. Local artist Michael Hosaluk has an exhibition titled Containment that involves many chairs, she said.

"He and some of his cohorts undertook what they call "chairorrist actions" and placed, as part of the exhibition, chairs around Saskatoon," Rosenwald said. "He does consider it part of his exhibition, but we did not authorize the placement of chairs on the river."

The act of "chairorrism" was actually executed by Hosaluk's friend and fellow artist, Doug Taylor, whose phallic snow sculpture made headlines this week. Taylor canoed to the spot and placed four of Hosaluk's chairs where crews later picked them up. He was not surprised the chairs were removed.

"Anyone just has to suggest a danger and they'll spring into action. It's typical, but absolutely unnecessary. It wasn't meant as a lure to get people out there," he said.
Hosaluk said part of the reason for the outdoor display was to draw attention to the lack of space at the Mendel. This was one way to focus on that deficit and the importance of the arts in the community, he said.

"We've had some incidents in the past and we just felt it was sending the wrong message by placing those chairs out there, whether they're an art display or not," said Fawcett.
Expressing her own personal opinion, Rosenwald said she is not sure why the act would be looked upon negatively.

"It's the artist's own extension of his exhibition. It's a creative use of space," she said.
Even if someone were to walk near the chairs, they wouldn't have went through the ice, said Taylor, noting the ice was 10 centimetres thick.

Fawcett said although it was relatively solid in that area, ice is dangerous at this time of year.
"Our advice to all citizens is stay away from the river and stay off the ice," he said.


jjackle@sp.canwest.com

© The StarPhoenix (Saskatoon) 2007

Monday, April 16, 2007

Actor Manifesto

Manifesto of the Perfect Art Form

Today's theater is in crisis. It has lost significance. To imagine a full powerful theater it must bring faith to humanity. We must rediscover a new language-on-theater. The new language-on-theater is not a parasite living on what society has built for Darwinian survival. It is a theater to reawaken our numbed sensibility by retracing the organicity on how to be human.

The new language-on-theater is an action and voice in rhythm. First of all, we must destroy the text crafted by the playwright that leaves room for only interpretation or the debatable logic of intellect. Theater is not possibly understood through studies of aesthetics or accomplished by persuading the actor into action.

Logical rational argument or reading of the text cannot create a theater. Theater must be composed of an intuitive re-action. Destroying the text, we destroy our enslavement to the text and text as a trap.

Non-scripted text is then chosen. The text must be a means for the actor to work on vibration in sound. The sound must vibrate in the actor's interior body, in the space and in the audience. All are apart of the vibrating zone.

Speech in rhythm carries a life force, resonates from the actor's body and mind, and reaches out to the space. Moving through the intellect logic of word meanings to break the language and create new senses and symbols by means of vocal vibration space is the guiding principle of the new theater.

This is the language that touches and activates the listener's heart and ear directly. Vocal vibration is almost a gentle attack. It is a way the actor shapes and shifts space through resonance without hesitation and fear. It is a search for a spatial language, for speech in rhythm that is musical and melodic called singing-ness.

The new language-on-theater is also a way of finding an action in rhythm. Word theatre has directed actors towards being not act-ors but word-ors. Thus creating a malformed body - almost a mummy. The actor must be a master of her own body to know her limit and to challenge the limits. The actor's physicality is to awaken both the internally and externally senses of the body which will awaken the whole intellect. It begins when the actor achieves an active state of vulnerability. No fear to expose herself to the space.

The actor's movement must come from the spine, the lower spine that controls the vertical praxis of the body. The movement must gain the property of returning to an initial form or a state following the deformation. Elasticity will return and must be capable of undergoing the continuous deformation without rupture or relaxation and a new plasticity will result. Within the new movement gained through elasticity and plasticity the actor must be a good friend of gravity and know how to play with it.

The action in rhythm is to know how to express the inner emotion and psyche externally. Not a reproducing of stereotypical gestures but a rigorous study of impulse, gesture, activity and movement in order to transform those into physical actions.

The understanding of the physical action is crucial because it is a vessel for the emotion, feeling or heart. A vessel for the emotion not a squeezing out, but rather, it is a stream of life visualized within a rhythm. When the actor rides on the stream of the physical acting score, the depth of emotion is present because of what the rhythm carries with it.

Jerzy Grotowski has shown that theater is not a representation of life any more but becomes "real." Theater is life. We must reject the mimics of life on theater. Actor's work can be recalling a memory of the past (such as Stanislavski's "as if"). However, it is by not representing the past today, which is inevitably a lie because there is no way to reproduce the exact same feeling of what we felt in the past. Rather, the actor creates a physical acting score that contains feelings about what has happened in the past now. In another words, the actor listens to the inner voice of the memory of the past and how it acts on her now, at present, while locating herself within the physical acting score as precisely as possible. An actor's action in rhythm vibrates in the space musically which is in dancing-ness. It is a search for a spatial movement.

An action and voice in rhythm is not about the action and voice itself but its vibration in the space because of what rhythm carries. Julia Kristeva's analysis on rhythm as rhyme points the actor to form plus theme equals content. Rhythm is intangible but precisely because of this, it is very concrete and strong and not easily broken. To gain virtuosity of action and voice in rhythm the actor must practice. There are no hidden secret or magical talents. In this respect, an action and voice in rhythm is about time. The actor develops an ability to unfold time in space.

It is a way that we can find our new way of language on theater. Not mimicry of life but the actor creates a resonance and response in space at the moment. It is a concrete development of dancing-ness and singing-ness. Dancing-ness is elasticity in physicality. Singing-ness is an elasticity of vocal vibration. Both are extensions of energy.

An actor rides on the rhythm, moves and sounds organically (even sensually) becomes very present. Because it is about work of time, it is not only a condition of now and here but also carries history in a sense that an actor leads history rather than chasing history. It is the moment where the actor's work links to tradition. The accumulated time becomes a palpitating rhythm of movement and sound. It is not a mimic of life as a representation but an on-going life within the new sensibilities which awaken history yet precede it.

The new language-on-theater which is action and voice in rhythm is an actor's work springing from the limit of being human. The very recognition of the limit challenges the actor to move beyond herself transcending. The actor feels free only when she is in theater working. The actor sublimates her pain into a sacred ritual only when she is in theater working. The actor knows herself fully only when she is in theater working. The actor accepts the world and enters a generous full-hearted state only when she is in theater working.

This act of theater finally recovers the faith in humanity and earns the respect in human dignity. The new language-on-theater is never a fixed result but is constantly in-process. Only then, theater becomes not an escape from life but a revolutionary revelation.

Ae Ran Jeong (written for Failure in Performance class / New York / September 16, 2005)

Imagining

"So what is the process for exercising and stretching the imagination so that that capacity returns?"(Dave Pollard | How to Save the World | The Process of Imagining)


- See: Terms

:: note :: ... an incredibly practical guide ...

Saturday, April 14, 2007

Actor Manifesto

Manifesto of the Perfect Art Form

Today's theater is in crisis. It has lost significance. To imagine a full powerful theater it must bring faith to humanity. We must rediscover a new language-on-theater. The new language-on-theater is not a parasite living on what society has built for Darwinian survival. It is a theater to reawaken our numbed sensibility by retracing the organicity on how to be human.

The new language-on-theater is an action and voice in rhythm. First of all, we must destroy the text crafted by the playwright that leaves room for only interpretation or the debatable logic of intellect. Theater is not possibly understood through studies of aesthetics or accomplished by persuading the actor into action.

Logical rational argument or reading of the text cannot create a theater. Theater must be composed of an intuitive re-action. Destroying the text, we destroy our enslavement to the text and text as a trap.

Non-scripted text is then chosen. The text must be a means for the actor to work on vibration in sound. The sound must vibrate in the actor's interior body, in the space and in the audience. All are apart of the vibrating zone.

Speech in rhythm carries a life force, resonates from the actor's body and mind, and reaches out to the space. Moving through the intellect logic of word meanings to break the language and create new senses and symbols by means of vocal vibration space is the guiding principle of the new theater.

This is the language that touches and activates the listener's heart and ear directly. Vocal vibration is almost a gentle attack. It is a way the actor shapes and shifts space through resonance without hesitation and fear. It is a search for a spatial language, for speech in rhythm that is musical and melodic called singing-ness.

The new language-on-theater is also a way of finding an action in rhythm.
Word theatre has directed actors towards being not act-ors but word-ors. Thus creating a malformed body - almost a mummy. The actor must be a master of her own body to know her limit and to challenge the limits. The actor's physicality is to awaken both the internally and externally senses of the body which will awaken the whole intellect. It begins when the actor achieves an active state of vulnerability. No fear to expose herself to the space.

The actor's movement must come from the spine, the lower spine that controls the vertical praxis of the body. The movement must gain the property of returning to an initial form or a state following the deformation. Elasticity will return and must be capable of undergoing the continuous deformation without rupture or relaxation and a new plasticity will result. Within the new movement gained through elasticity and plasticity the actor must be a good friend of gravity and know how to play with it.

The action in rhythm is to know how to express the inner emotion and psyche externally. Not a reproducing of stereotypical gestures but a rigorous study of impulse, gesture, activity and movement in order to transform those into physical actions.

The understanding of the physical action is crucial because it is a vessel for the emotion, feeling or heart. A vessel for the emotion not a squeezing out, but rather, it is a stream of life visualized within a rhythm. When the actor rides on the stream of the physical acting score, the depth of emotion is present because of what the rhythm carries with it.

Jerzy Grotowski has shown that theater is not a representation of life any more but becomes "real." Theater is life. We must reject the mimics of life on theater. Actor's work can be recalling a memory of the past (such as Stanislavski's "as if"). However, it is by not representing the past today, which is inevitably a lie because there is no way to reproduce the exact same feeling of what we felt in the past. Rather, the actor creates a physical acting score that contains feelings about what has happened in the past now. In another words, the actor listens to the inner voice of the memory of the past and how it acts on her now, at present, while locating herself within the physical acting score as precisely as possible. An actor's action in rhythm vibrates in the space musically which is in dancing-ness. It is a search for a spatial movement.

An action and voice in rhythm is not about the action and voice itself but its vibration in the space because of what rhythm carries. Julia Kristeva's analysis on rhythm as rhyme points the actor to form plus theme equals content. Rhythm is intangible but precisely because of this, it is very concrete and strong and not easily broken. To gain virtuosity of action and voice in rhythm the actor must practice. There are no hidden secret or magical talents. In this respect, an action and voice in rhythm is about time. The actor develops an ability to unfold time in space.

It is a way that we can find our new way of language on theater. Not mimicry of life but the actor creates a resonance and response in space at the moment. It is a concrete development of dancing-ness and singing-ness. Dancing-ness is elasticity in physicality. Singing-ness is an elasticity of vocal vibration. Both are extensions of energy.

An actor rides on the rhythm, moves and sounds organically (even sensually) becomes very present. Because it is about work of time, it is not only a condition of now and here but also carries history in a sense that an actor leads history rather than chasing history. It is the moment where the actor's work links to tradition. The accumulated time becomes a palpitating rhythm of movement and sound. It is not a mimic of life as a representation but an on-going life within the new sensibilities which awaken history yet precede it.

The new language-on-theater which is action and voice in rhythm is an actor's work springing from the limit of being human. The very recognition of the limit challenges the actor to move beyond herself transcending. The actor feels free only when she is in theater working. The actor sublimates her pain into a sacred ritual only when she is in theater working. The actor knows herself fully only when she is in theater working. The actor accepts the world and enters a generous full-hearted state only when she is in theater working.

This act of theater finally recovers the faith in humanity and earns the respect in human dignity. The new language-on-theater is never a fixed result but is constantly in-process. Only then, theater becomes not an escape from life but a revolutionary revelation.

- See: Terms

:: note :: ...written in 2005 by a former student this manifesto rings out ...

Friday, April 13, 2007

Vonnegut

"We all feel that we talked with Kurt, don't we? Which isn't very possible, but it is as necessary as peace."(AlterNet | Reverend Billy |Reflections on Kurt Vonnegut, a Man of Funny Fearlessness)


"He believed, after all, that literature could play the role of the canary in the coal mine, warning against the suffocation of values. It was the function of literature to be "a slow-acting poison". He had himself been infected by the socialist writers of the 1930s. Now he, in turn, wished to "infect young people with humanity"."(openDemocracy |Christopher Bigsby |Kurt Vonnegut : a voice for life)


- See: Memorium

:: note :: ... been infected since the late '60's ... this poison makes in his own words: "Death is not an acceptable side effect." ... Vonnegut took me on the pilgrimage towards being unstuck in time ... a brilliant critical thinker ...

Thursday, April 12, 2007

Chairorists

A picture named Riverchairs.jpg


Chairs on Ice, January 25, by John Penner


Not long ago it became known that an artist was fined for leaving chairs on the ice across from the so-called new River Landing development. The self taught wood turner stated this act of "chairorism" was executed by a fellow artist and friend, infamous for his own phallic snow sculpture of a mushroom with a bulbous stem, who canoed to the spot and placed, as an unauthorized part of the Containment Exhibition, four maple chairs on the ice hoping to attract attention to the lack of space at the local Art Gallery and focus awarness of the arts in the community. It was also known this community prided itself as a cultural capital.

The Gallery's founder a local meat packer businessman, internationally known as The Ham Man, who built the single largest pork processing plant in the country which specialized in the killing, cutting and value-added processing of hogs and had selected this stunning location alongside the river for a building distinguished primarily by the elimination of ornament and simplification of form, now scowled from his grave.

Channelling through the present Gallery spokesperson he expressed the opinion it was a creative use of space. After all didn't Her Majesty Queen Elizabeth II possess one of the artists' pieces in her permanent collection at Buckingham Palace.

Members of the Saskatoon Fire and Protective Services river rescue team retrieve some chairs left by a local artist on the ice across from the new River Landing development FridayPhotograph by : Greg Pender, The StarPhoenix .jpg

Fear of offending royalty he allowed children and adults able to be childlike to play with specific chairs in the main gallery. He even invited renowned English (though living in the community and of Romanian descent) theatre and film actor, as well as director and writer to perform Climbing Chairs: Chairorist Monologues.

All this approved activity he hoped would divert municipal councillors away from chairorist actions including the now removed chair glued to a tree by City Hall. He wasn't sure the seven-member jury appointed by city council to determine, on the basis of quality and appropriateness, what art projects would be allowed in open spaces, in civic facilities and on city-owned property would be placated.

The busy valley pathways would be safe from gifts of beauty randomly placed without permission. The only exception was the two-storey chair tower at the doors of the gallery considered to be gallery property (sort of).

Exhausted the Ham Man tucked away his honorary Doctor of Laws degree and returned to the pale subways of his underground existence. Occasionally he visits the suface attempting to scale chair trees to reach the moon. He understands the moon to be a hole at the top of the sky through which he may escape. Failing he falls back harbouring a secret, valuable treasure resting content to have created a place of such character and personality, even if a controversial one, that all citizens could take pride in.

The assistant Fire chief advised all citizens to stay away from the river and stay off the ice.

- See: Writings

:: note :: ... apologies to Thomas Bernhard/The Voice Imitator/998 Times ...

Wednesday, April 11, 2007

Soul Work Grass Tomb

A picture named soulwork07

- See: Theater

:: note :: ... reflections on a work ... a work that may be called SleepWork ... entering something from the sleep side ... an incognito glimpse ... unrecognized, hidden, unknown because we judge something of worth is hidden ... SleepWork is hopeful ... SleepWork premises "to awake to a reality more real than the waking world" (Anne Carson | Decreation| 22) ...

Thursday, April 05, 2007

Play Pose

A picture named playPose.JPG

- See: Theater

:: note :: ... students create Tableaux of moment in "Run" ... explored FASD & more ...

Tuesday, April 03, 2007

dream death



she dreamed

... returning to my homeland for a visit found myself in a strange neighbourhood ... third sister had recently moved to a new area ... she had called giving directions and requested my immediate arrival ... despite repeated calls and detailed instructions the house could not be found ...

... each call added more and more urgency till finally I demanded if I was so close then why wouldn't she simply come out to get me ... further angering me with her hesitancy she continued to talk ... the background noise made listening impossible ... she was occupied with something else while talking and couldn't be understood ...

... angered I pleaded for her to come get me ... she hung up and moments later was standing at a gate motioning me to come ... looking directly & sternly into my eyes through clenched teeth ... "I was trying to tell you - Mother is Dead!" ... peppering her with questions dazed and in shock followed her inside ... "What? Are you sure? I just talked to her last month. She was fine" ...

... no one knew much ... the whole family lived apart from mother who lived in a small village some distance away ... the phone kept ringing ... sister answered calmly if not somewhat emotionless ... it was elder sister inquiring about the last gift mother had sent ... "Yes the sesame seeds were organic" I overheard sister's reply ... "They should be safe to eat." ...

... they were talking about sesame seeds and mother was dead ... this was unbelievable ... were they all heartless ... turning quietly sister spoke ... "My daughter is also dead" ... gasping ... No! No! No! How can it be? ... "She has not returned home from school for two days now" ... raging out of the house ... tears streaming down my face ... shrieking out her name I ran through the neighbourhood ...

... a man in black followed ... he was selling insurance ... "See death can come at any moment - do you have life insurance?" ... "Leave me alone!" ... desperately questioning all in the street one man described "Yes he had seen the child walking home from school." ... had offered some candy ... the child replied her mother warned never talk to strangers and especially never accept gifts ... she ran off ... "You bastard! Because of you she is lost! You made her panic! You made her lose her way!" ...

... meeting others they assured they had seen the child running along the streets ... this was not the way home she must be alive and lost ... I tore through the streets searching every dark and deserted corner ... rummaging through every garbage bin ... hair matted from sweat ... face filthy from tears and dirt ... screaming her name attacking all passers by desperately seeking any information ...

... my only solace was "Yes most had seen her running" ... darkness fell ... with huge resignation decided to return home ... where was it ... though now recognizing the familiar roofs of the neighbourhood approached each gate with certainty that this was home ... found myself lost ... lost ... lost ...

she awoke.

- See: Dreams

Monday, April 02, 2007

Theater @ Buffalo Lodge

A picture named atPlay.JPG

- See: Theater

:: note :: ... took high school drama classes to "Run"... a Nutana Collegiate's Drama production written and directed by Tom Simes a home schooling dad and high school teacher ... an exploration on F.A.S.D.... a wonderfully human 'message' play full of rich emotions & committed playing ... congrats to Nutana class... hosted by White Buffalo Youth Lodge ...

Sunday, March 18, 2007

safe space

"This non-essentialist approach to identity leaves greater scope for analysing individual action with regard to the individual's own culture. The ways in which individuals perceive their culture and give meaning to it are diverse and variable. People are capable of criticizing their cultural habitus and opening themselves up to innovation and supplementation with new cultural elements. This often leads to diverse forms of connections. What is needed for such reflection and innovation, however, is a feeling of security. The general precondition for reflection, therefore, is a safe space."

"For people to open themselves up to new ideas and connections, as Taylor points out (5), they need to feel recognized for who they are: social recognition is of paramount importance for human development. This is the only base that would allow people to feel secure enough to question some aspects of their cultural background. The change should come from conviction and a sense of belonging to the society."(Halleh Ghorashi argues only openness to migrants' decisions can help steer clear of cultural fundamentalism.)



- See: Terms

:: note :: ...culturalist, pillarization, cultural fundamentalism, military humanism, hybrid identities ... safe space is fundamental & social recognition is paramount that seems easy to verify when reflecting on ones own situation ...

Thursday, March 15, 2007

SlideShow Test


A slide show will appear here shortly.




- See: Terms

:: note :: ... testing this slide show from flickr ... treetops from the temple ...

Wednesday, March 14, 2007

Murder in Amsterdam

"What to say to a man who tells you he prefers to obey God than to obey men, and who is consequently sure of entering the gates of Heaven by slitting your throat?" - Voltaire


- See: Terms

:: note :: ... been reading Ian Burma. Murder in Amsterdam... have entered a minefield ... Pascal Bruckner, Necla Kelek and Paul Cliteur & more respond ... am sifting through the thinking which results in being overwhelmed into paralysis ...

Monday, February 26, 2007

WinterTops

A picture named wintertops.JPG

See: Images

:: note :: ... the hoarfrost touched trees around the temple ... compliment another earlier set ...

Sunday, February 25, 2007

postcard from second life

A picture named resting.jpg

- See: Terms

:: note :: ...second life ... an educational tool ... some think so ...

Saturday, February 24, 2007

Ghinnawa

Cries


Cries of apologies gather dust

in hearts land of broken promises


land of broken

land of broken

land of broken promises

land of broken

hearts land of broken promises

land of broken

land of broken

hearts land of broken promises

land of broken

land of broken

land of broken cries

cries of apologies gather dust

land of broken

land of broken

in hearts

in hearts land of broken promises


- See: Poetry

:: note :: ... wrote a Ghinnawa ... |||AS/IS 2||| suggested the structure ... events created the emotion ...

Sunday, February 18, 2007

Pig Year

A picture named logo-pig-1.gif

- See: Terms

:: note :: ... bless all this year ... year started off with a presentation of Grass Jelly ...

Friday, February 16, 2007

seriously

"I know someone who speaks, in his pathetic, ignorant, yet smug and condescending fashion, as if serious were the highest of accolades rather than the most banal of modifiers. As if to call academic work serious were to qualify it in some discernible fashion. He is a stupid man, a parasite only capable of feeding off the conversation with others without offering anything himself. I think of him as a soul wasted because of the hideous personality entrapping it. He venerates the emptiness of seriousness, I'm sure, because of his correct intuition that he lacks understanding, insight, and analytic acuity." (I cite | I want to be taken seriously)


- See: Terms

:: note :: ... will simply quote ... attending the past conference this observation was voiced silently ... great to express however obliquely ...

Tuesday, February 13, 2007

discussion

"Keynote Speaker: Erin Walsh (Sid Buckwold Theatre)
All the way from San Francisco, Erin Walsh, training consultant, comes to us with a vast knowledge on topics such as media's impact on children, families and communities, violence against women in the media and video game violence. Erin is a dynamic speaker who has presented to youth groups as well as adults and professionals. She has worked at the National Institute on Media and the Family for the past five years and is a principal architect of the MediaWise movement. "
(Strong Teachers, Strong Families, Strong Communities | STA Convention [pdf link])


- See: Terms

:: note :: ... past days listened to Erin Walsh & Larry McCallum ... mediawise & Traditional First Nations Spirituality ... powerpoint presentations ... stories ... discussion ...

Sunday, February 11, 2007

CD Cover

A picture named pinter&jazzCD.jpg

A picture named P&JCDback.jpg

- See: Image

:: note :: ... cd cover done ... all pleased ... space was at a premium with the middle hole ...

Friday, February 09, 2007

to attend or not to

... with only obligation & sense of duty attended ... then wrote ...

No Exit & The Bald Soprano performed on the same evening create a wonderful juxtaposition and exploration of the space between word and action. Even the title Greystone Shorts 4 Evening A (or is it B) makes existential absurdity.

Sartre & Ionesco, two French playwrights of now classic stature, challenge student directors to sharpen their understanding of theater history, translate dramatic style into living action and live the question of theatrical conventions in a very practical way.

The evening depends on confronting the rejections which Sartre so brilliantly outlines in his 1966 lecture, Myth & Reality in Theater . It is much more than letting a play speak for itself ... it may not make a sound ... it needs to be heard ...

Each production must ask the vital question which measures all. Why theater? The modern classics may be anachronisms of quaint, old monuments and yet the inner unity of a complex work factored by the audience & the society from which the audience comes tests the conditioned reflexes.


"When I was young I had a professor who gave me private lessons without being paid. He was a great wise man and a specialist in Hinduism. When I began doing theater, I invited him to a performance but he refused. Why, had he refused, I asked him? He said, 'Because no matter what you do, it will transform itself into a hermitage.' (Grotowski)

- See: Theater

:: note :: ... theater as hermitage ... relics of a hermit ... temple living hermits ...

Monday, February 05, 2007

Steinism

"As long as the outside does not put a value on you it remains outside but when it does put a value on you then it gets inside or rather if the outside puts a value on you then all your inside gets to be outside." (The world of Gertrude Stein | via wood s lot)


- See: Terms

:: note :: ... my own steinism: when I am alone I am not ... when I am not alone I am with you ...

Sunday, January 28, 2007

babel

"There isn't an overview, an over message; there are strands and themes and connections and broken links, and a lack of contact in the midst of all sorts of media."(I cite | Babel)


- See: Terms

:: note :: ... directing students i often encouage free association & kind of babel ...

Saturday, January 27, 2007

What can be done?

""To understand the work one must move from ontology, (what is art?) to pragmatism (what can art do?). Herein lies a possible revival of avant-garde politics - no longer historically "ahead", nor operating through shock and estrangement, but rather producing works that make things possible right now...""( - empyre - | Sharon Daniel)

" ... an artist as not one who continually advances existing vocabularies ( dominant cultural legacies ) but one who is reinscribing existing social-economic imperatives and, subsequently, must then defend the position created by that reinscription."( - empyre - |Christiane Robbins )


- See: Terms

:: note :: ... discussion on a January form ... "What is to be done?" as a quotation of V. I. Lenin's famous book from 1902 with the subtitle "Burning questions to our movement." ... we need skills for a participatory culture to develop sense and sensibility allowing consideration & content beyond structure and form ...

Wednesday, January 24, 2007

public secrets

"There are secrets that are kept from the public and then there are "public secrets" - secrets that the public chooses to keep safe from itself, like the troubling "don't ask, don't tell." The trick to the public secret is in knowing what not to know. This is the most powerful form of social knowledge. Such shared secrets sustain social and political institutions. The injustices of the war on drugs, the criminal justice system, and the Prison Industrial Complex are "public secrets.""(Sharon Daniel |Public Secrets | Vector Journal)


- See: Terms

:: note :: ... a powerful web essay voicing secrets ... an aporia that gnaws at the core ...

Monday, January 22, 2007

ethical resistance

"I use 'ethics' broadly to refer to obligations that present themselves as necessarily to be fulfilled but that are neither forced on one nor enforceable? Ethical resistance involves the individual more than the institution or the population. It may be the basis for an individual's choice of engaging in social or political resistance. Yet it requires a different kind of explanation. For Emmanuel Levinas, ethical resistance is not the attempt to use power against itself, or to mobilize sectors of the population to exert their political power; ethical resistance is instead the resistance of the powerless."(Critical Resistance|David Hoy)


- See: Terms

:: note :: ... seeing in frames of power & struggles ... an alternative is testimony, witness, create context, conversations, narrative and evidence ...

Saturday, January 20, 2007

dylan matorell

A picture named dmCostume.jpg

- See: Artist

:: note :: ... so much to see ... hidden archives ... infinights ...

Thursday, January 18, 2007

Meredith Monk

"You can't step twice into the same river, wrote Heracleitus, "for fresh waters are ever flowing in upon you." Memories, images, and written words preserve only the residue."(Village Voice | Dance | Vanishing Acts by Deborah Jowitt)


- See: Artists

:: note :: ... review of Meredith Monk's music-theater work Impermanence ... the words of Heracleitus continually haunt ... as the term ends for my high school students the strong undercurrents stir the riverbed deposits deep ... saw monk in venice (the travelogue series) decades ago at the beginnings of my travels ... so much to be open to i thought & still think ...

Monday, January 15, 2007

Alice Coltrane

"Divine music is one of the highest mercies extended to us by God. It is as powerful as prayer itself. The potency of sacred music has in certain instances superceded the curative properties of medicine, mantra, and affirmations. This is due to the heart's principle of love, purity, and innate receptivity. Often, the mind that knows the use of recitation and affirmations, at times has found that little value results when it exhaustedly abandons the constant repetition.

Divine music is a curative virtue; it is a gift from God that brings healing and comfort to the soul. This music can uplift one's spirit up to a higher dimension of being that is filled with peace and joy. Divine music is the sound of true life, wisdom, and bliss. This music transcends geographical boundaries, language barriers, age factors; and whether educated or uneducated, it reaches deep into the heart and soul, sacred and holy, like an Infinite sound of glory entering the Lord's sanctuary."
(quote from Swamini Turiyasangitananda)


- See: Artist

:: note :: ... Alice Coltrane (Swamini Turiyasangitananda) entered the space between music/spirituality into divinity ... for years have listened with rapture ... these past months have woken to her harp ... she has left ... may her journey continue with the splendour she gave to all ...

Thursday, January 11, 2007

the storm

A picture named beforedig.jpgA picture named afterdig.jpg

- See: Image

:: note :: ... day after the blizzard ...

Saturday, January 06, 2007

Ceremony

A picture named ceremony.jpg

- See: Image

:: note :: ... new beginnings on epiphany ...

Friday, January 05, 2007

Ae(ring)Ran

A picture named aring.jpg

- See: Terms

:: note :: ... turning ...

Thursday, January 04, 2007

Gustin House Recital Series

Gustin House is pleased to announce the 2007 Recital Series!
Soprano Ileana Montalbetti, and pianist Kathleen Lohrenz Gable perform songs and arias by Bellini, Berlioz, Puccini, Richard Strauss and others. Friday, January 5, 7:30 p.m., Grace-Westminster United Church, Saskatoon.

- See: Artist

:: note :: ... be splendid & fine ...