Saturday, December 20, 2008

txt

ailsa haxell can i jus txt
View SlideShare presentation or Upload your own.


- See: Terms
Teens

:: note :: ... texting is now a fact of high school life ... there was a moment during a recent rehearsal when as supervisor while talking to four student on stage regarding the scene all four of them went to their phones ... needless to say I stopped in resignation ... some told me to ban cell phones but in the end the students themselves found the commitment required ...

Tuesday, December 02, 2008

she wept

A picture named spiritaltar.JPG

I stood beside my wife as she wept.
She had spent the day preparing food.
A feast for her father who three days before had entered the spirit world.
Incense burned around the dishes, candles lit the altar, Korean funeral songs filled the space, she bowed & wept.
His picture framed in black watched over her.
She had mentioned once he was a disciplinarian yet as so many of his generation the face was full of great protective warmth.
She loosened the rice and filled a spoonful serving then bowed & wept.
Her heart was heavy.
I slipped my hand under hers but she needed no support she wept.
Her bows were light & graceful as if she were the spirit.
I moved behind her to rest my hands on her shoulders as a sign of comfort.
A picture named fatherface.jpg
She wept.
We bowed three times three.
She wept three times three.
The incense sticks became ash. The candles in the sand flickered. The songs finished. There was a sorrowful emptiness.
She wept to the end.
We walked hand in hand to the room we call home.


Layers, duration and transitions are the dialogue of living either here or there.


- See: Memorium

:: note :: ... it has taken me over a week to have the space to mark this moment ... events weigh with an incommensurable expression ...

Thursday, November 27, 2008

Hamlet Collage Performances

A picture named hamletFight.jpg
LaerTes (Peter) fights Hamlet (Pat) with King (Andrew) looking on & valley girl Rose (Lyndsie) peers on from backstage. Picture taken by Erich.

Rehearsals are over ... cast is ready to perform ... see you at the show Friday & Saturday @ 7 pm.

Tickets at the door: children & seniors free, students $3 & adults $5.

Saturday, November 15, 2008

A Skull

The director writes in Directors Notes, "London-born playwright Martin McDonagh is the current enfant terrible of the theatre world." That he is a child of the theatre is undeniable - in all senses. Persephone Theatre's production A Skull in Connemara despite solid acting performances and exquisite production values reveals a playwright revelling in theatrical hijinks and linguistic fireworks leaving me the hope that 'enfant' McDonagh will develop his skills beyond the mid-90's great burst of drafts of seven plays in nine months and eventually grow up. Apparently he agrees: "I just need some quiet time to write, hang out and grow up." (Time)

Dark, droll, comic dialogue and blood crafted to turn cartoonish violence into art while taking a realistic approach to farcical situations cannot disguise the lack of substance. Entertaining it may be but ultimately the characters who argue endlessly fail to overcome their isolation. Their humanness is mistreated as the narrative spins lives doomed to shallow complacent misery and despair. Powerful comedies overcome murder with mercy and a fleeting, ephemeral triumph over adversity through the power of storytelling.

All the actors must be commended, though it is Susan Williamson (Mary) who with two bold strokes best defies the the abstract invention of "Irishness" which typifies the quarrelsome relationships presented in the cast of four. Her complete embracing of the "otherness" with impeccable dialect and nuanced gestures genuinely roots her character, if not in authentic Irishness, at least to a total acceptance of this imaginary culture which curiously then transcends to create a universal busy body grandmother type. Her clearly articulated and well defined choice to find moments of tenderness allow a glimpse into the core of companionship buried deep in this text. Precisely by finding warmth, particularly in her moments of silence, shock and realization, does the often cold & brutal action lift towards a sense of why the past needs to be dug up or how gossip and innuendo reconstruct to haunt the present or should secrets be left to lie ...

Talking with a group of high school youth after the production they were excited and loved the liberally spiced language (Feck/Fecking/Fecker), the drunkenness, the blood, the smashing of skulls and digging into graves. They also pondered the quintessential question: "Would you mind having your skull smashed after death?" Artistic Director Del Surjik may have been very shrewd selecting McDonagh. Bringing this highly acclaimed and controversial theatre celebrity to Saskatoon audiences seems legitimate and relevant.

- See: Plays

:: note :: ... one of the high school students mentioned, though A Skull in Connemara was easier to enjoy his preference was the previously attended Waiting for Godot ... it seemed to him that writing for the joke and instant laugh the play would not stand the test of time ... Godot was full of timeless ambiguity that resonated long after viewing ... we shall see ...

Tuesday, October 28, 2008

Hamlet Collage



Rehearsals have begun.
The Fall production is a project based on the Marowitz Hamlet. HAMLET COLLAGE poses the question how we, who may not even have read Shakespeare's Hamlet, view the everyman Hamlet - the person, the play and the myth.

Imagine watching an episode of the Simpsons (the one which contains a parody of Hamlet) and suddenly the Ghost (it is speculated Shakespeare played the ghost) snatches you and drags you into the mind of Hamlet, only you hardly know what is happening. HAMLET COLLAGE cuts & pastes traditional readings, modern interpretations, rewritings and foolish misconceptions into a theatrical collage something close to a subconscious mash-up. Have you been transported into the mind of Hamlet or is Hamlet all in your mind?



- See: plays

:: note :: ... a complex process ...

Sunday, October 05, 2008

Godot in Saskatoon

These past weekends Saskatoon theatre witnessed a historic moment. Henry Woolf strode
across the stage surrounded by a formidable cast of actors who all began their acting studies in Saskatoon under his guidance, including director Del Surjik, and launched a new era for Persephone Theatre.

"I agonized over it, I did, but it's a play I always wanted to do. It affected me deeply as a new, young theatre practitioner," Surjik said of Waiting for Godot.

"I thought it would deliver an introduction of me to the audience and start our conversation together."
(Star Phoenix)


Staging a twentieth century masterpiece honours the past and challenges the future. More importantly utilizing the gifts of splendid theatre artists within the community and inviting back to their roots those who sought development elsewhere, Persephone recognized and strengthened the deep human connections that sustain and nurture the immediate place of theatre.

A picture named godot.gif

This particular Waiting for Godot created a healing power. Perhaps for Beckett the word plethora was a necessary exorcism to deal with the immensity of the Holocaust and the deaths at Hiroshima and Nagasaki. Pathos and wit, brooding silences, visions of torture and hunger, a barefooted child, a pair of boots hauntingly placed as a monument for the audience to ponder while waiting for Act 2 demanded from us not just to make sense of so much senselessness that surrounds us but to take the bold affirmative action to listen - to simply listen to the very fragile human voice of the dispossessed and to listen as their voices reach out achingly to each other.

This particular cast forged a huge act of generosity. Each individual actor pushed the character towards a fullness of human expression with a boundless energy emphatically stating - we are human and it is in our relations we live. The despair of the sterile landscape and its vertical terrain making each step a chore, the solitary struggling tree not strong enough for a hanging, the infinite empty blue sky seemed to dwarf the figures but as we waited and waited and waited the stature of being human grew. Beginning with the long, blank stare and amidst the straight out of vaudville non-existent yet ever so irritating pebble in the boot routine through slap stick hat exchanges and weeping willow word plays provoking groans of laughter a hush descended. The final word speech of Vladimir (Didi) arched out over the audience. We collectively held our breaths and paused with respect. The measured words soared with authority and passion informed by all the wisdom and experience an authentic elder of the theatre could command. Who could have imagined embedded in Beckett was a moving Shakespearian soliloquy. Yet who could deny the flow of theatre through these two masters and their exquisite marriage of image and word.

Peter Brook writes in The Empty Space.
"I know of one acid test in the theatre ... When emotion and argument are harnessed to a wish from the audience to see more clearly into itself - then something in the mind burns. The event scorches on to the memory an outline, a taste, a trace, a smell - a picture. It is the play's central image that remains ..."(152)


This particular performance seared a lasting image of the surreal moon shining magnificently in the night. The moon is considered by some rational minds to be a dead object made visible by reflected light. The twentieth century actualized the dream to walk the moon and yet none of the associative/metaphorical/aesthetic power of the image has been diminished. The moon shines with all the ancient mystery and lunar forces of tides and female cycles. Pozo and Lucky, blind & dumb, continue their journey - Didi & Gogo, on the verge of going, stay. They stay to release us into the theatre of exploration, the theatre that gives shared meaning, the theatre that breathes life.

Many thanks to Del and team for their courage and audacity. More thanks to Henry, James, Chip, Ralph and Alex for their great tenderness and investment of their truths. Thanks to Persephone Theatre for starting a compelling, new conversation. I'm engaged! Oh and a deep, deep thanks to you Mr. Beckett shining back at us - the old man in the moon.

- See: Theater

:: note :: ... nothing more to say ...
"VLADIMIR: Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be?(Estragon, having struggled with his boots in vain, is dozing off again. Vladimir looks at him.) He'll know nothing. He'll tell me about the blows he received and I'll give him a carrot. (Pause.) Astride of a grave and a difficult birth. Down in the hole, lingeringly, the grave digger puts on the forceps. We have time to grow old. The air is full of our cries. (He listens.) But habit is a great deadener. (He looks again at Estragon.) At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) I can't go on! (Pause.) What have I said? He goes feverishly to and fro, halts finally at extreme left, broods. Enter Boy right. He halts. Silence. " (close to End of Act 2)
...

raymon montalbetti

Saturday, October 04, 2008

Godot in Saskatoon

These past weekends Saskatoon theatre witnessed a historic moment. Henry Woolf strode across the stage surrounded by a formidable cast of actors who all began their acting studies in Saskatoon under his guidance, including director Del Surjik, and launched a new era for Persephone Theatre.

"I agonized over it, I did, but it's a play I always wanted to do. It affected me deeply as a new, young theatre practitioner," Surjik said of Waiting for Godot.

"I thought it would deliver an introduction of me to the audience and start our conversation together."
(Star Phoenix)


Staging a twentieth century masterpiece honours the past and challenges the future. More importantly utilizing the gifts of splendid theatre artists within the community and inviting back to their roots those who sought development elsewhere, Persephone recognized and strengthened the deep human connections that sustain and nurture the immediate place of theatre.

A picture named godot.gif

This particular Waiting for Godot created a healing power. Perhaps for Beckett the word plethora was a necessary exorcism to deal with the immensity of the Holocaust and the deaths at Hiroshima and Nagasaki. Pathos and wit, brooding silences, visions of torture and hunger, a barefooted child, a pair of boots hauntingly placed as a monument for the audience to ponder while waiting for Act 2 demanded from us not just to make sense of so much senselessness that surrounds us but to take the bold affirmative action to listen - to simply listen to the very fragile human voice of the dispossessed and to listen as their voices reach out achingly to each other.

This particular cast forged a huge act of generosity. Each individual actor pushed the character towards a fullness of human expression with a boundless energy emphatically stating - we are human and it is in our relations we live. The despair of the sterile landscape and its vertical terrain making each step a chore, the solitary struggling tree not strong enough for a hanging, the infinite empty blue sky seemed to dwarf the figures but as we waited and waited and waited the stature of being human grew. Beginning with the long, blank stare and amidst the straight out of vaudville non-existent yet ever so irritating pebble in the boot routine through slap stick hat exchanges and weeping willow word plays provoking groans of laughter a hush descended. The final word speech of Vladimir (Didi) arched out over the audience. We collectively held our breaths and paused with respect. The measured words soared with authority and passion informed by all the wisdom and experience an authentic elder of the theatre could command. Who could have imagined embedded in Beckett was a moving Shakespearian soliloquy. Yet who could deny the flow of theatre through these two masters and their exquisite marriage of image and word.

Peter Brook writes in The Empty Space.
"I know of one acid test in the theatre ... When emotion and argument are harnessed to a wish from the audience to see more clearly into itself - then something in the mind burns. The event scorches on to the memory an outline, a taste, a trace, a smell - a picture. It is the play's central image that remains ..."(152)


This particular performance burnt a lasting image of the surreal moon shining magnificently in the night. The moon is considered by some rational minds to be a dead object made visible by reflected light. The twentieth century actualized the dream to walk the moon and yet none of the associative/metaphorical/aesthetic power of the image has been diminished. The moon shines with all the ancient mystery and lunar forces of tides and female cycles. Pozo and Lucky, blind & dumb, continue their journey - Didi & Gogo, on the verge of going, stay. They stay to release us into the theatre of exploration, the theatre that gives shared meaning, the theatre that breathes life.

Many thanks to Del and team for their courage and audacity. More thanks to Henry, James, Chip, Ralph and Alex for their great tenderness and investment of their truths. Thanks to Persephone Theatre for starting a compelling, new conversation. I'm engaged! Oh and a deep, deep thanks to you Mr. Beckett shining back at us - the old man in the moon.

- See: Theater

:: note :: ... nothing more to say ...
"VLADIMIR: Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be?(Estragon, having struggled with his boots in vain, is dozing off again. Vladimir looks at him.) He'll know nothing. He'll tell me about the blows he received and I'll give him a carrot. (Pause.) Astride of a grave and a difficult birth. Down in the hole, lingeringly, the grave digger puts on the forceps. We have time to grow old. The air is full of our cries. (He listens.) But habit is a great deadener. (He looks again at Estragon.) At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) I can't go on! (Pause.) What have I said? He goes feverishly to and fro, halts finally at extreme left, broods. Enter Boy right. He halts. Silence. "(end of Act 2)
...

Sunday, September 21, 2008

wordle connect

A picture named connect.jpg

- See: Language

:: note :: ... wordle of converstation @ Second Thoughts ... posted some (what i thought were ironic) comments ... irony was missed ... although the response was quite gentle: "you seem like a broken child of the internet" ... followed later by an oh get it post ... still realized my difficulty in conveying nuances ... still the wordle had a point ... showed who talked the most ... the danger is in some networks most = loudest = (lets say) griefer = remove ... not a representation of the quality of the conversation just graphics of words & we can use/manipulate words ... oh well as long as just talking to myself no problems ...

Monday, September 01, 2008

CCK08

Organize/Narrat(ive)e learning experiment/challenge:
how is connectivism related to enabling a participatory pedagogy
Pre- Course
signed up for Connectivism and Connective Knowledge Online Course
visited blog

signed up for:
SL component & joined google group
added dates to Doodle
logged in to Moodle CCK08
listened to EdTechTalk #81 & #82 & interview
read posts:
Planning Page, English Pageflakes, support wiki, Sarah's Musings, Connectivism blog, The Connective


uploaded latest SL, visited Chilbo & twittered from there.

- See: CCK08

:: note :: ... accept those talking marks/grades/assessment/institutions is an important part of their narrative ... after this pre-course "work" must chip away to principles of personal practice by ruthless selection of info-nodes ... find it difficult to commit (be open) to any process structured/unstructured of "network" whether social, neuronal or conceptual ... live chaos ... love complexity & diversity ... keep experimenting with (x28) rules versus patterns, complicated vs. complex, equivalence vs. similarity, and coping with ambiguity and uncertainty ... my paradox is to be a fully involved participant & be invisible ... have shifted posts on this CCK08 course over to it's own category ...

Wednesday, August 27, 2008

rubber duck

rubber duck project

creative networking

- See: Projects

:: note ::... old school post ... years ago many posts were of this link type ... rare now with social bookmarking & tags & microblogging ... a relentless change ...

Tuesday, August 19, 2008

#3

Acts of Indivisibility

(half sisters sitting on the edge of an empty theatre)

Libby:    Are we the angels?
Fanny:   (Sewing wings for the swan)
             Only if you trust that which you don't know.
Libby:    But we humans hate ourselves.
Fanny:   Only the very few trustworthy who dare to wholeheartedly
              be in love will . . .
Libby:     (interrupting) I just want to be happy
Fanny:   Ah happiness ... I have heard, meditate on the difference
             between the Important and the Essential,
             you will learn something secret.
Libby:     I feel I carry the rhythms in my face and hands.
Fanny:   Hold here tight. Gather up all the loose bits of memories
             and press into new form.
Libby:     (struggling & lets the fabric drop)
Fanny:    The sun begins in the night and ends in the middle of my
             spine.
Libby:     And the moon always seems to float wherever she wishes
             drifting without laws.
Fanny:   (embraces Libby)
Libby:     I used to think your kindness might be a sign of insanity.
Fanny:   When I am dead they shall find a picture of you in my heart.
Libby:    You once told me the transmigration of souls is about leaving
            one form of being behind for another.
             (a bell rings or a wolf howls)
Fanny:   Well.
Libby:    Thanks.
Fanny:   Take this. It has no name & is the colour of silence.

(both exit opposite sides leaving the wings behind)

- See: Plays

:: note :: ... #3 of 365... inspired by Fanny Howe ... much of my time has been spent alone on an empty stage after the student actors have left ...

Monday, August 11, 2008

dansing

A picture named dancing.jpg

seesons uv th heart
from narrativ enigma /rumours uv hurricane by bill bissett
dansing a video poem created & read in the morning of august 11, 2008 by (inspired by meeting bill after decades of reading his work) click image to view


- See: Video Poems

:: note :: ... working with imovie & garageband ... compressing for the web is a serious deterioration of both sound & picture ... hmmm probably nothing new for the experienced ... once a year I play with this form and am surprised at both advancements and growing demands ... moving from the wow factor to the desire for better ...

Sunday, August 10, 2008

amaze

A picture named amaze.jpg

amazements jaguar jumps from narrativ enigma / rumours uv hurricane by bill bissett
a video poem created & read in the morning of aug, 9, 2008 by raymon montalbetti (inspired by meeting bill after decades of reading his work) click image to view


- See: Video Poems

:: note :: ... images of Lake Superior ... was there this time last year ... an awe inspiring lake of mythical spirit ... also visible @ youtube

Saturday, August 09, 2008

Don't Say God



Don't Say God by John Livingstone Clark

accompanied by Ray Stephanson keyboards & Duane Dorgan percussion

a temple reading video by Raymon Montalbetti


- See: Video Poems

:: note :: ... summertime & diggin ... this is a 2004 reading that never made it to the web ... it has now ...

Friday, August 08, 2008

CMcC

Ain't that the truth

(A clearing on the way to the dump. Two cars lay upturned at either side of the road like wrecked sentinels.)

Lester: What say ...
Cormac: Mornin.
Lester: Mornin you aST?
Cormac: Down yonder the day is cheatin.
Lester: Let me see that there rifle.
Cormac: Hold on. What can I do for ye?
Lester: You ain't got nothin cept the rifle.
Cormac: It's a known fact we's all childs of god.
Lester: Stay away from here.
Cormac: Sure I can't hep ye?
Lester: You're a liar.
Cormac: You ain't never married. It's a grief and a heartache and they ain't no reward in it atall.
You just raise enemies in ye own house to grow up and cuss ye.
Lester: You're crazy and cain't fool me just turn around and get goin.
Cormac: You aIN'T needin' a watch are ye?
Lester: Do you reckon i need a watch. Git.
Cormac: (turning to leave) I jus don't know why people don't want to listen?
(Walks off. Long silence.) Ain't that the truth.

- See: Plays

:: note :: ... nothing like the doom of Cormac McCarthy ... #2 of 365 ... a reading of Child of God not recommended ...

/?

1/? what is blood for

2/? what dies in you

3/? how do you like the war

4/? will you be here next year

5/? do u want 2 b emptee

6/? do you interrogate your impulses ... 'does Beckett strike you as a person who ever interrogated his own economic impulses?' ...

7/? is your id intact

8/? am I an imposter

9/? how to find that which i can't even remember is lost

10/? is it just a look

11/? when does the accident become the condition

12/? are we part of the anger

13/? beyond all help

14/? which irreversible process (decay, history) is too personal ...

15/? what does it mean to finish (Mark DuCharme) ... http://bit.ly/33gPqD

16/? how do you keep the faith


- See: Questions

:: note :: ... unconsciously asked a couple of questions on identi.ca ... now a discipline a little like Oblique_Chirps ... live the questions was a credo ... now I watch my questions ...

Thursday, July 31, 2008

rescue

A picture named rescue.jpg

- See: Image

:: note :: ... a wild few days around here ... high winds, tornado touch downs ... trees falling onto roofs & streets ... above is a picture down the street ... look through the window of the fire truck to see the fallen tree ...

Tuesday, July 29, 2008

prolonged perception

"And so life is reckoned as nothing. Habitualization devours works, clothes, furniture, one's wife, and the fear of war. "If the whole complex lives of many people go on unconsciously, then such lives are as if they had never been." And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar,' to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object: the object is not important."(-- Victor Shklovsky "Art as Technique" )

- See: Artists Speak

:: note :: ... wonderful attending the Floyd festival (old link not up-dated) ... youth working in post post-modern ways ... finding voice ... speaking on patterns of experience yet prolonging perception to make it art ... a vital authentic energy ...

Wednesday, July 23, 2008

Chris Ashley hanging

A picture named closer.jpg

... imagine my surprise when out of the blue artist Chris Ashley offered to ship a work simply as an act of gratitude for my following his html pieces throughout the years ... asked if i had a request & shocked i replied whatever comes will be appreciated ...

... we don't "know" each other ... have never met ... a sporadic network connection at best ... the last few days he posted another of his gifts hanging ... here's where mine hangs ... above my computer work station flanked by my sons piece done at age 11 ... the reflected light line seems appropriate (to me)

A picture named ashleyhanging.jpg

... his recent work may be viewed at David Cunningham Projects in San Francisco & his most recent recent work may be viewed each day on his blog Look, See which links & reviews other work as well ... the last month has been particularly stunning as the daily practice demands & challenges both form & impulse ... daily looking means to see & to see I have discovered is to stop & wonder ... to reflect on the quality of ...

- See: Art
Artist
Image

:: note :: ... two were sent ... haven't hung the other ... yet ... thanks Chris ... sorry for the poor quality pics ... just meant to give a sense of place ...

Tuesday, July 22, 2008

fir(la)st

There is the place we know and there is the place we live.

This I realized staying the past fifteen years in The Temple situated beyond the CPR tracks, at the bottom of Caswell Hill just off of Louis Riel Trail in Saskatoon on the Canadian prairies. Something I've been reminded of as the walls flake and the roof falls.

The Temple windows are a bit high meaning I see mostly sky and trees. Inside there is a story which remains mostly untold and not easily accessible. The Ladies Prayer Room in the basement with the now demolished bathroom, the attic with empty pulleys and asbestos, crumbling steps, fence planks missing, cracked windows and worn pathways speak of age and a relentless drive towards being junked or dispersed. Places vanish precisely because, a few years down the track, there is no 'guardian' left willing to pay the bills for the sake of posterity?

There is no concealing the sourcing of alienation or the substance of tradition. Speaking in tongues the spaces between deliberately undermine the construction and deconstruction. A renouncing of pleasure questions the perception resulting in that which actively engages fascination.

Years go by, the guardian ages and the fascination is living the knowledge.

- See: Writings

note ... initial days ...

Saturday, July 19, 2008

video poems

free - a video poem of 'I want 2 b emptee' from narrativ enigma / rumours uv hurricane by bill bissett

FLaRes - a video poem of 'ECHOGRAPHIES' from The House that HIJACK Built by Adeena Karasick

- See: Video Poem

:: note :: ... created these past early mornings ... inspired by an Adeena Karasick workshop presentation (not attended) at the recent EVOcative Festival/Conference ... the idea + my wife's discovery of sharing pictures using quicktime movies stimulated me to use the tools lying dormant in the computer ...

Thursday, July 17, 2008

365 Days

The Stranger.


Camus: When was the last time?

Shadow: What?

Camus: The last time we talked?

Shadow: Yesterday before the storm.

Camus: And the last word?

Shadow: What are you talking about - we don't talk.

Camus: Do you remember then the last word you wrote?

Shadow: No.

Camus: You didn't even think about it.

Shadow: (laughs) My name. How every correspondence ends

Camus: Exactly.

Shadow: Oh I get what this is about.

Camus: Do you?



- See: Plays

:: note :: ...Suzan-Lori Parks wrote a play a day which inspired a nation-wide grassroots festival ... the published book acknowledges Paul Osher - who said it'd be cool. ...

Saturday, July 12, 2008

relations

"We are nothing alone. We cannot exist without reference points. We cannot know ourselves until another knows us. This is why we seek love - not just something to hold, but someone to know us and hold us as just us. Neither can we be together if we do not exist as individuals. Both are needed."

"Dialogue is both our existence and what we do. We are beings in our doings."

"Our purpose is to stir things up. The stirrings are the living edge of us. Where we leak into others, there we create new life. This is the work of conversation: to create new life.
"

"Dialogue then is not a mere tool, but the fountain of life. Drink from each other's mouths and ears the stuff of life."

"The between is life. The between throws off life. The between lives. The between gives life. We meet in the between. We live in the between. What we do separately is done only to serve the between. The between is life."

"Giving is what feeds the creation of new life. Trusting allows us to give and to receive. Asking opens our ears to the asker, to the between, where we know without reason that we are."

"The more life we give, the more we live. We are here to live this life, not to withhold it, for giving is living. The measure you give - pressed down, shaken together, overflowing - is the measure of your living. Trusting the people means we know them as others, persons: persons like us, with dreams and schemes and fears and pains, with the desire to make things better, to live. To live! It is what each and every one of us wants and needs. We can trust that need, and all that works towards that, when persons are trusted. Asking is the way - into the between. It creates relationship, it drops shields against trust, it leads to giving each to the others. Here is life. The work of conversation is approached through these three doors. The working of conversation is life. This living creates life."

"The work of conversation is creating life."

"This is what we are about."(A Credo) (via parking lot)

- See: Relationship

:: note :: ... could adopt this credo ...

Thursday, July 10, 2008

non-relations

... clusters of interaction circulate around a deep, shared core connection
& this "work" is where connection is maintained ...

... no place for psychological notions of the biologically tied family ...

... the noise of institutional hierarchies needs to be muted ...

A picture named relations.JPG
... not easy as the traditional relationship canon demands a kind of cohesive, definable whole that is legitimized as fact & truth ...


... shape shift to negotiate a way to re-present ourselves in a credible manner ...


... link to survival, competition & traditional drives of monetary adherence to security ...

... replace convention with stripped, personalised, intuitive, introspective, living
& open-ended actions (authenticity & inspired) ...

... replace status quo, comprehension, ease & predictability with chaotic, disordered and risky variations ...


- See: Relationship

:: note :: ... towards a manifesto of relations ...

Wednesday, July 09, 2008

Pressure

She wanted to know what wind was for.

On the island which stirred underneath the feet. Or,
Does wind wish to be of the earth?

Would oceanic be another sister?

Is survival interesting as always was & will be?

She once found solace for several years.
Before she shaved her hair in the heat without wind.

The scarf bound tightly a perceived protection.

Someone could leave streaklines. Walls
do hold the anemometer windows measuring promise.
Each day nothing seems to blow.

Gentle breezes deceive anyone who faces the other way
inland or outing the change of direction.

Maybe we're all wind.
Whatever that's for.

- See: Writing

:: note :: ... in a time when no wind blows ...

Saturday, July 05, 2008

no title

Did you see the water streaming down the outside walls?

Even in the heat of the night when the stillness hums loudest the ceiling cracks appear lost. The water drains down. Down, down, down. A studied run-a-way he could never slip through without scratching the cortical brain tissue. An image thought responding to delirium and drift. Just lie.

Hidden in a canoe he criss-crosses sky rivers only to be countered by the vulgar and incoherent family. His brother's mother was a master of glib, good mannered indolence. She canonized deceit. Her marriage was a miscarriage. The run-a-way became animal staking out the path of escape in all its positivity.

When do you leave she asked.
When do you think - do you think he said.
(He knew that resistance was surrender.)
He said he was never born he escaped.
Wrong. Don't deny your birthright.
You always enjoyed suffering she said.


Never look for shame in dark pines underwater. He stood high looking out over the river. Map the sandbar and cross the threshold where all forms come undone. A false intensity.

Rain. Rain go away. Spill into the gutters.

- See: Writing

:: note :: ... waiting for the rain ...

Thursday, July 03, 2008

two silences

two silences
       the frozen first & last selves
            reflections in cracked windows


we look through & away
       in hesitations & abbreviations
             a shredded glaring resistance

the framing warps in the heat
       paint blisters & curls before
             pleading naked exposure

the problem with a door are the hinges.

- See: Poetry

:: note :: ... not to be confused with solitude ...

Monday, June 30, 2008

mythtime

reading of the mythtime

"... the wild time ... mythtime surrounds historical time the way the forest and the ocean and the sky surround a village ... the mythtime is self-sustaining, alive and independent of human control ... myth is a richly complex piece of knowledge, like a theorem or a language or a genome: an inheritance too precious to be left, like a trademark or a patented procedure, in the realm of the privately owned ... the mythtime covers for a timeless moment, a familiar human space ..." (Nine Visits to the Mythworld: Ghandl of the Qayahl Llaanas)


- See: Terms
Artists
First Nation

:: note :: ... Robert Bringhurst ... Animal and the Human ... we were told ...

Wednesday, June 25, 2008

Storytellers Unite

Storytellers Unite
Traditional meets unconventional at eVOCative festival

Ashleigh Mattern
The StarPhoenix

Monday, June 16, 2008

Saskatoon is storyteller central this summer as the city plays host to two of the industry's conferences and a festival of oral performance.

Storytellers from across Canada and around the world will be coming to Saskatoon to attend the eVOCative festival and The Oral, the Written and Other Oral Media conference from June 19 to 21, and the Storytellers of Canada annual conference from July 2 to 6.

While the conferences are fine-tuned to the interests of performers and academics working and creating in the field, both conferences have a little something for everyone.

In the case of The Oral, the Written and Other Oral Media, main organizer Susan Gingell has also organized a festival of oral performance to complement the conference. Gingell said it was important to her to bring artists and academics together.

"Too often (artists and academics) operate in isolation from one another," she said. "Perhaps idealistically, I believe that good things can come out of the dialogue between the two groups."

Gingell also wanted to open up the event to the Saskatoon community. There will be two free readings and performances at McNally Robinson: Dub poet d'bi.young.anitafrika will launch her new book, blackness . . . and other rivers . . . between us, on June 18 as a pre-festival warm up, and spoken word and movement artist Catherine Kidd and poet Paul Dutton will be reading on June 19. The conference also includes two free discussions and a storytelling workshop.

The Storytellers of Canada conference also features events open to the public. A concert on July 3 will feature performances from story-singer Norm Walker, storytellers Gary Tisdale, Jim Drake, Vincent Murphy and Paddy Tutty, and a unique performance from American Sign Language storyteller Teresa Fleming.

This will be the first Storytellers of Canada conference to feature a performance from a deaf storyteller. Fleming will tell the story through sign language and have an interpreter.

"We're opening it up to the deaf community," said organizer Kathy Bennett. "You'll get the story through the interpreter, but keep your eye on Theresa."

The second public event is a concert on July 5. With local actor and storyteller Henry Woolf as master of ceremonies, the concert will feature storytellers Ivan Coyote, Lorne Brown, Marie Anne McLean, Judith Poirier and Melanie Ray.

While the conferences differ in focus, they agree that oral traditions are a part of every culture. The eVOCative festival and conference include performers from as far away as Jamaica and Australia, while the Storytellers of Canada conference focuses on a couple of cultures closer to home: Metis and Ukrainian.

Although the eVOCative festival and conference features artists from all over the world, Gingell said she wanted to give aboriginal oral traditions prominence.

"I knew that I wanted a very strong aboriginal component because aboriginal oral traditions are the foundations of this kind of thing and in this space," said Gingell.

The eVOCative event Crow Hop Cafe showcases some of the top aboriginal talent today. Curated by poet and comedian Neal McLeod, the Crow Hop will feature hip hop artist Eekwol, storyteller and singer Joseph Naytowhow, and storytellers Maria Campbell, Kimberly Blaeser and Kateri Akiwenzie-Damm.

Eekwol, known off-stage as Lindsay Knight, is one of the less-traditional performers at eVOCative, but she said she fits right in.

"Originally hip hop was very much all about storytelling," said Knight. "It was all about explaining and defining an experience or a situation that a person was in, and it's a way of expressing through words and poems, and just expressing struggle. I found that hip hop really related to me because my ancestral history is all about oral traditions."

Bennett, who will perform at both the eVOCative festival and the Storytellers conference, said she thinks storytelling is making a comeback.

"(Storytelling) fell off the face of the Earth for a while and it's coming back," said Bennett. "And I think it's wonderful. It's a way of communicating. It's learning how to talk to people again."

The eVOCative festival pass costs from $14 to $18. Single tickets to the Crow Hop Cafe or eVOCative Cabaret cost from $8 to $12. Full conference fees are $125 for the public, and include a festival pass. Festival passes and individual event tickets are available at the Saskatchewan Native Theatre Company, McNally Robinson Booksellers and The Refinery.

The Storytellers of Canada full conference pass costs $180 for non-members, or $75 for a day pass. Tickets to the storytelling concerts are $12 to $20 and are available at 8th Street Books and Comics, McNally Robinson Booksellers, Academy Piano Rebuilders and the U of S Bookstore.
© The StarPhoenix (Saskatoon) 2008

Copyright © 2008 CanWest Interactive, a division of CanWest MediaWorks Publications, Inc.. All rights reserved.
CanWest Interactive, a division of CanWest MediaWorks Publications, Inc.. All rights reserved.

Monday, June 23, 2008

Crow Hop

A picture named eVOC.jpg

The eVOCative Crow Hop at the Saskatchewan Native Theatre Company ended with the traditional round dance ... all performers, staff, attending poets, conference organizers, volunteers, supporters & audience linked hand in hand ... the center empty a birthing womb ...

just a couple of hours before Joseph Naytowhow had drummed the space awake with a morning song, cleansed the ear with flute breath love and jigged joy energy to welcome all the relations this summer solstice on National Aboriginal Day in honour of "the broad range of contemporary Aboriginal oralities from storytelling and song to poetry, spoken word, and hip hop" (program notes) ...

Marie Campbell, reading from her in-progress work, honoured Metis women. Her understated, quiet voice, warm from a story told in Cree about a priest and a women, held authority and reverence but most importantly the words were testaments to women history had unwitnessed.

A picture named NimosomipanII.jpg

the mixed bloodlines of families, our tribe, our elders, our mothers & fathers and our children & children to be were honoured by Anishinaabe poet/scholar Kimberly Blaeser. Then backed by her the beats of her brother, Eekwol honoured the rising activist power of Indigenous Plains Cree & Hip Hop. Arms pumped the air in solidarity to all brothers and sisters of the nation. Strong & eloquent Kateri Akiwenzie-Damm read edgy hommages. Surprise guest Gregory Scofield Singing Home the Bones filled the hot crowded room with a palpable sense of pride ... pride of the past ... pride in sharing the missing stories ... pride in language ...

through it all & always with a glint in his eye artist bionic bannock boy from (kept reminding us of this) James Smith Cree First Nation in northern Saskatchewan , Neal McLeod , curator&creator of Crow Hop injected zones of humour, Cree fun, context and respect ... fittingly the final words, Sons of a Lost River, were his for so much of the evening would not have happened without his bold bringing together of this group ...

birth, life & death renewed we spilled out into 22nd Street the drum beat pulsing in our souls ...


- See: Artists
Festival
First Nation

:: note :: ... no more to say ...

Sunday, June 22, 2008

eVOCative cab

a wonderful eclectic evening in the Oak Room of The Park Town -- eVOCative Performance Cabaret ... the program reads:
"The eVOCative cabaret brings to our stage five innovative, politically-engaged & dynamic writers and performers. These artists are influenced by, and follow in, a broad range of traditions from sound poetics and dub to feminist performance art, dramatic monologue, and experimental language poetics - all to remarkable effect. There is no way to encounter the surprising and fluid relationships between oral and written poetries than by experiencing the work of artists like bill bissett, Adeena Karasick, Catherine Kidd, Kaie Kellough and d'bi.young.anitaafrika, and I am so thrilled they are all part of this festival and conference. It's going to be a fabulous , fun night!"(T.L. Cowan, curator)


Cowan, an international writer/performer herself, served up this delectable feast. Cheekily in a blond wig like something hot off an Entertainment Tonight clip she introduced each artist with grace, awe and enthusiasm.

A picture named billbissett-2.jpg

bill bissett stomped, rattled & breathlessly intoned his works ... the lively trickster/fool bissett disarms even the most closed heart with streams of playpun ... dissolving into radiant sound subversion ... enticing an imaginative mystical dance ... we envision polar bears on yonge street & sway mesmerized to the soundings from large print laminated pages of ths is erth thees ar peopul ... a perpetual unfolding of langwage n desire... the splendid wide mythical world incarnate ... listening to a dialogue between the wise man & the simpleton ...

Earlier in the day he and Adeena Karasick had simulated a two person radio show: "SUBLINGUAL BOUCHE". They were a pair of small salivary glands beneath the tongue stimulating a passion sometimes sexually charged other times breath aspirations of innocence but always libidinous - union fusion [Sublingual/ Amuse Bouche: Tasty Treats for the Mouth (Talonbooks 2009)] interplay ...

Alone behind the podium Adeena chewed at the ranula... that cyctic war swelling in our midst ... jubilant concentrated energy ... a miraculous paradoxical voice all rich/nasel/nuanced/spirited ... sharp sharp sharp into brilliance ... language extraordinarily 'HIJACK'ed ... multi-fracturing into a persona myriad ... deftly firing synapses of fable fabrication ... high low popular academic dark beamed into a compact delight ... perhaps only in my vision for a moment a hasidic prophet flickered shrewd Kabalsitic wisdom ...

The evening bubbled through zany zanny zanni Catherine Kidd ... to the slow bopping rhythms of Kaie Kellough ... his smooth hypnotic vibe exploring the gentle aspects of identity ... spoken word on reggae/blues ... generated "to dub out the unconsciousness out of people head, and to dub in consciousness"- Oku Onuora ... a groove Lettricity ... say it again real slow Lettricity (Bop to authors Bop to bottom Bop to Kaie) ...

... at the end ... the riveting word warrior d'bi.young.anitafrika ... a simple spin & we are entwined in blood.claat ... stalking the audience eyes wide ... crouching as if ready to leap we surrender to the blood ferocity ... a magnificent story-teller allowing us to presence the ancient oral tradition ... gender class race oppression violence ... at the end ... a tender smile ...

A picture named ative.jpg

Yes smile! Five Artists sharing ... inviting us to string it all together ... precious gems beaded to wear on the heart ... a heartlace ... thank you.

If one could have been anywhere that night nowhere would have been more tantalizing out of world than the Oak Room in Saskatoon. Praise the artist and their gifts.

- See: Artists
Festival

:: note :: ... so much to explore ... each artist moving inspheres beyond wor(l)ds ... deep gratitude to the organizers ... inaccuracies may exist ...

Saturday, June 21, 2008

meeting bill bissett

wz 1 of thoz polar bear timez
u no all north outside & shimmern inside
n i wz 2 listn 2 bill bissett
excellent wild i thot

A picture named bbnak.jpg

standing 4 tickets he came up behind me
not sure sew askd who he wz
jimmy
disappointd i handshaked
later he wz at the front
so the trikster foold me again

he 8 n sang n breethd into th mic
buzzd terribul like it didn't recogniz hm
4 a moment we wer all pssssd
then were kompleetlee happee

A picture named bissett.jpg

invited bill & Adeena to the Temple
frends 4 over 20 yrs talkn n konnekting 2gethr
while reading they merg in2 each othr nicelee
i wz reelee xcited

th dreem was 2 dew blew treez
n share n love n help
b ing creeativ interests peopul
2 meet them freely n prsonal

n we did


- See: scenik narratif

:: note :: ... bill bissett and Adeena Karasick were in Saskatoon for a Festival ... even though they knew nothing of me they found time to visit & share their generous spirits ... am forever grateful ...

Tuesday, June 17, 2008

Self Referential Play

Self Referential image

- See: Tools

:: note :: ... word picture generated by wordle ... larger here ...

Sunday, June 08, 2008

when there is nothing

when there is nothing ... when articulating the necessity of witnessing a theater act i often choose the phrase "art as nourishment" ... the bread of life ... yet this metaphor of consumption is problematic ... presencing a performance is to encounter a flow/current/process/energy (dancingness) which moves the "I" ... the self by meeting the self breaks down the existential trap of being human ... the personal is stripped bare ... & in the barrenness a lively silent stillness shines (aura) ... there is something ... there is something unutterable ... when there is something theater is presencing dancingness aura ...

- See: Theater

:: note :: ... thinking about a question regarding feeling left after a performance ...

Thursday, June 05, 2008

that which knaws

that which knaws at the soul sleeps alone
lives unseen under bleeding nail bitten fingers
if the heart is delicate the invisible mending is always visible
scar white despair scabs pulsing a self mutilation
nerve ends screaming "I" stripped down to self suspicious whispers
keep a journal obsessively & fall asleep
forget the pain

- See: Poetry

:: note :: ... that time of year ...

Monday, May 26, 2008

Dramaturgy

... responding to a question on how to tell a political story in the theater ...

"Stories ground people in culture,
(and remove the alienation that causes aggression)
stimulate their imagination,
(and therefore improve the capability to change)
teach them about themselves
and connect them with each other.
Stories are a vital element of society.
Embrace non-linearity.
Let go of the idea of plot.
Realtime is non-linear.
Tell the story through interaction."
(REALTIME ART MANIFESTO)


... return to Aristotle's six recognized elements in Drama ... of course rejecting plot & never forgetting imagination ...
(theme) = ACTION + (character) = SOURCE + (diction) = imaginative choice & delivery of words = TEXT + (music/rhythm) = melody of voice = SINGINGNESS + (spectacle) = imaginative use of props = DANCINGNESS makes connection ...

- See: Theater

:: note :: ... the dramaturgy of performance ...

Thursday, May 22, 2008

Jayne Wark Lecture

A picture named NSCAD.jpg ... attended Public Lecture Dr. Jayne Wark Conceptual Art in Canada: Histories, Geographies and Debates: a lecture offered in tandem with the Mendel's exhibition of Iain Baxter& ... talk described three Canadian conceptual art workers: General Idea, N.E. Thing Co. and NSCAD ... honoured the influence of McLuhan ... explored the interrogations/anti-visual language/idea machine & viral aspects of conceptual art + the methodologies of art production/commodification/capitalism ... lecture was accompanied by a powerpoint slideshow ... concluded with a challenge to "tone up" ... a metaphor to critically examine the historical revisionism surrounding conceptual art, to correct the much neglected documentation of canadian conceptual art and finally how "conceptual art continues to define Canadian contemporary art, and its legacy is being mined by the young artists of today." ...

- See: Artists

:: note :: ... thanks for the solid intro both dense and clear ... want to become an Artoficial ...
"To Baxter, snobbishness and pretension often hinder the public from enjoying art, and he debunks both through his N.E. Thing Co., which produces buttons labeled "Artoficial" and passes them out to N.E. one who will wear them. The button presumably entitles the wearer to make official statements on art - though Baxter clearly regards this distinction as somewhat artificial. The company also issues certificates for ACT (Aesthetically Claimed Things) and ART (Aesthetically Rejected Things). The Great Wall of China rates an ACT seal of approval, while some of Picasso's paintings get the ART booby prize."(Statements in Paint)

Saturday, May 17, 2008

Declensions of Light

A picture named WernerBauerluxlucis.jpg Light fascinates me in all its manifestations. I study, experiment, discover, and try to give form to light and set it into motion." (Werner Bauer)

- See: Artists

:: note :: ... i love the light ... summer evenings bath the temple space golden ... the worst about linking to gallery feeds is the subsequent linkrot ...

Monday, May 12, 2008

Tweet Wheel

A picture named tweet wheel.jpg

- See: Networking
Twitter


:: note :: ... couldn't resist the vanity wheel ...

Monday, April 28, 2008

Gurawski's intern

He dreamed.

I was assigned to be an intern with Gurawski, a young stage designer with Grotowski. The Theatre of 13 Rows company was in transition moving from Opole to Wrocław and about to be relabeled "Teatr Laboratorium". This I knew but still relished this opportunity to be in the old Opole workspace.

As field work Gurawski had taken me to an old castle outside of Cracow leaving me stranded on the roof stripping away plaster to reveal rotten beams. Rain had caused significant damage and it was my job to expose all the potential structural damage. It was dangerous work. Often found myself in precarious positions barely hanging on. The building was deep in a forest and at one point I thought this was some kind of prototype for Brezinka.

Returning to Opole I set about sanding the raked stage for an early production which I identified would later become Apocalysis Cum Figuris. Discussing the show with Gurawski he took me through a visualization of the actors. A scene of the actors in the desert with Cieslak sprawled in the center. Hi description reminded me of a moment from The Constant Prince. Gurawski disappeared and an assistant sent me to his office. It was cluttered but on the desk I viewed complicated set designs and again quite puzzled I thought he hadn't read Towards a Poor Theater yet. The office had two desks and I wondered if the other belonged to dramaturg Ludwik Faszen, Carefully locking the door behind me am amazed that everything at this early date was already conceptualized.

He awoke.

- See: Dream

:: note :: ... kept waking and wanting to go back to sleep to keep dreaming ...

Saturday, April 12, 2008

Maps

"Inspection and interviews. Close personal observation and talking with long term residents. It's a hard thing, really, to erase a trail. A lot of information can be recovered if you stay at it."

"Of course, but nobody has the time for this kind of field-work anymore. That's unfortunate, because this information is what we need, you know. This shows history and how people fit the places they occupy It's about what gets erased and what comes to replace it. These maps reveal the foundations beneath the ephemera." (from The Mappists in Light Action in the Caribbean by Barry Lopez)


- See: 3Life

:: note :: ... maps & time ...

Monday, April 07, 2008

Answer

sent the question: Imagination is .... out to the twitterverse
received this answer: imagination is ... copy left not right! ;-)

- See: 3Life

:: note :: ... openness is the beginning ...

Saturday, April 05, 2008

Last Days

"These two concepts, practice and play, taken at their most serious and most spiritual, was what Grotowski gave his life to. "


"Grotowski's effects on theatre flow from three ideas that he identified, explored, and attempted to systematize. First, that powerful acting occurs at a meeting place between the personal and the archetypal-in this he continued and deepened the work of Stanislavsky. Second, that the most effective theatre is the "poor theatre" - one with a minimum of accoutrements beyond the presence of the actors. Third, that theatre is intercultural, differentiating and relating performance "truths" in and from many cultures. He explored these ideas over a lifetime of scrupulous work with people, work that was precise, detailed, systematic, physical; a set of practices more than a colloquium of ideas or beliefs. His writings can appear inspirational or opaque. But working with him was another matter altogether.
"
(TDR/ Drama Review / Vol. 43, No. 2, Summer, 1999 / http://www.mitpressjournals.org/loi/dram ISSN:10542043)


- See: 3Life

:: note :: ... last day of classes ... these are the links between the worlds: personal to archetype/poor/intercultural ... a serious playful practice ...

Thursday, April 03, 2008

"3Life"

"We all lead three lives, an actual one, an imaginary one, and the one we are not aware of."(- Thomas Berhard. On the Mountain. p 8)

My question is how do all these lives entwine and practices which encourage awareness of these lives. Tagged 3life

- See: 3Life

:: note :: ... responding to Chris: "I'm going to be thinking and reflecting over the next 30 days on this question and I invite you to choose a question and engage in a research project as well." ...

Wednesday, March 26, 2008

irreal

"The other departure from contemporary English is my use of 'irreal' and 'irreality', which are not English words at all. They are my rendering of the French adjective and noun 'irréel' usually translated as 'unreal' and 'unreality'. but these would be misleading here. Sartre's use of 'irréel' here seems to follow one sense of Husserl's 'irreal' . Since Husserl's term is usually rendered into English as 'irreal', my rendering of Sartre's term preserves the connection. Further, Sartre's 'irréel' does not denote, as 'unreal' seems to, the class of objects that could exist but do not. Rather, an irreal object in this work is an object as imagined by consciousness. This object may be real: the irreal Pierre may be the real Pierre as imaged. Conversely, unreal objects that are never imaged will never be irreal. Finally, Sartre employs the verb 'to irrealize', even opening the work by describing the imagination as 'the great "irrealizing' function of consciousness". To translate 'irrealize' here as 'unrealize' might be taken to imply that Sartre considered the imagination to be the function of removing items from reality, or considering real items as unreal. Although from about the middle of the work Sartre contrasts this use of 'irrealizing' with the 'realizing' function of perception, it is by this point abundantly clear that contrast is between the kind of consciousness that constitutes an object as 'irreal' and the kind that constitutes an object as 'real'. "(from The Imaginary by Jean-Paul Sartre/ Notes on the translation xxviii)

- See: Terms

:: note :: ... wanted to add something about irreal consciousness to the value of theater ... theater is active irreal consciousness ... the living action ...

Monday, March 24, 2008

Value of theater

North American theater related blogs questioned the value of theater on March 19.

The Peter Brook quote which inspired this blogs title holds an answer.

"In everyday life, 'if' is a fiction, in the theater 'if' is an experiment. In everyday life, 'if' is an evasion, in the theater 'if' is the truth."(The Empty Space)

If is the central core of LifE. Experiences creating/witnessing/participating in theater can be healing. Flow, action in rhythm, vibration in space heals the fragmentation of time into a on-going presence of awakened sensibility. Theater plays (pdf link) with space & time educating the imagination to observe equally the predictable and unpredictable universe. Theater is a communion opening us to the mystery which is at the heart of life.

To finish the Brook quote which concludes his book:

"When we are persuaded to believe in this truth, then the theater and life are one. This is a high aim. It sounds like hard work. To play needs much work. But when we experience the work as play, then it is not work any more. A play is play."(The Empty Space p 157)

- See: Theater

:: note :: ... always repeating & that too is the essence of theater ...

Saturday, March 22, 2008

Irene van de Mheen

A picture named exterior_holandes.jpg(via LookSee)

- See: Image
Artist

:: note :: ... this is a work that might fit into SL ... able to fly around & even into ...

Sunday, March 16, 2008

OBE'd

"i found http://www.pseudodictionary.com/OBE - sourced from here - http://tinyurl.com/2chbfm - scroll down to the Dec 13th post on that page
"
(twitter)

- See: Social Networks

:: note :: ... am a late bloomer ... quick to add & use apps/tools ... mainly lurk slow to network ... was hesitant to ask twitter to find some info on a "geek/tech" word while reading a post but took the plunge ... it was one of the first "friends" who replied with a direct message thus hidden ... the flashy multi posters ignored the request ... there certainly types of friends ... so thanks web friend ...

Sunday, March 09, 2008

Arts Education

"1. An interest in a performing art leads to a high state of motivation that produces the sustained attention necessary to improve performance and the training of attention that leads to improvement in other domains of cognition."( Essay: Arts and Cognition: Findings Hint at Relationships The 2008 Progress Report on Brain Research | via)

&

"Thirty-five thousand MFAs a semester, 90 percent of whom never make another work of art."(The Art Critic: David Hickey | via)

- See: Education
Arts

:: note :: ... the paradox in these statements reveals the truth about ? ...

Friday, February 29, 2008

Drollic Dream

imaginative critical if theater

- See: Image

:: note :: ... Drollic Dream... a flickr toy ...

Thursday, February 14, 2008

double dialogues

"We can interact.

We can be performative.

We can create.

Our meanings are full ... 'of sound and fury' or full of hot air.

We can breathe life into our meanings.

Meanings inspire; eventually they expire.

We can exchange meanings.

We can engage in the Dialogue and the circulation of meanings:

floating meanings;

bouncing to and from the audience;

bouncing from and to the screen."


(Double Dialogues: Issue Seven, Winter 2007 On Space : (falling into) the space between the screen and the audience | Stephen Goddard)

- See: Theater
Journal

:: note :: ... tentatively enter a conversation on distance in the theater: the aesthetics of audience response ...

Wednesday, February 13, 2008

Highway's Dilemma

"... There's this attitude out there that only native actors can play native roles. But acting - the verb "to act" - means to pretend to be who you are not, so I don't believe in that idea that you have to be a native to play one. Look at [playwright] Morris Panych - and I don't want to say a word against him, because I adore the man - but what if someone were to come up to him and say, "You're only allowed to work with Polish actors?" He wouldn't have much of a career. If someone were to go up to Atom Egoyan and say, "You can work only with Armenian actors," his career would die tomorrow. There's a very real danger of that happening with native writers. And the older I get, the less interested I become in immersing myself in that problem."(Journey man
The nomadic Tomson Highway talks about writing the first Cree opera
By Martin Morrow,CBCNews.ca
)

- See: Artists
- See: Theater

:: note :: ... certainly not a new dilemma but wish to mark it once again ...

Saturday, February 02, 2008

Ten Cubed Gallery

A picture named Gallerycubed.jpg

- See: Image
Gallery
Artists


:: note :: ... entered the Ten Cubed Gallery to visit the works of Chris Ashley ... although love the idea of Second Life the virtual gallery fails to create or enrich ... launched by the real world gallery Haydn Shaughnessy Gallery for Innovative Contemporary Artists the traditional web pages give all of the works more vibrancy ... second life feels very secondary ... granted there is the walking a gallery & a spatial effect ... perhaps i need more practice and better equipment ... still second life with the ability to fly and teleport demands fresh new ways of viewing ... would love to fly around works ...

Thursday, January 31, 2008

nothing left

I have nothing left to imagine
On the place of dreams
Or the action of the spheres
Of the breathturns.
If I once directed a scene of trials
The jury is hung.
The judgement suspended.
- See: Poetry
:: note :: ... nothing left to say ...

Sunday, January 27, 2008

Prairie Sustainability

"At a school with a locked-away ivorytower
board of governors, one can feel
hopeless to try to engage real change,
Darwish of the Sierra Club told the group.
"In my year it was cool to be an activist. It
was cool to fuck shit up, but campuses are
getting more corporate.""
(The Sheaf | Vol.99 Issue 22/ Jan. 24 2008 | pdf file)

"The Prairies Sustainable Campuses Conference will bring together campus community members from across Manitoba, Saskatchewan, and Alberta to build a regional network as part of the national movement to institutionalize social and environmental sustainability on campus."(Prairie Sustainable Campus Conference)

Saskatchewan Education for Sustainable Development

Mike Hudema

Liela Darwish

Rosa Kouri

- See: Politics
Environment
Activism

:: note :: ... a rich example of students working on important issues ... wishing to document this ...

Saturday, January 26, 2008

blind newsmakers

"Arts and Letters Daily is an example of the pure ``communo-genic'' function. It creates a lens for the cultured, conservative Anglo Saxon, entirely by selecting from other web sites 3 noteworthy articles per day. We notice it at openDemocracy--when it lists one of our pieces we see the traffic spike. Arts and Letters Daily creates its cultural commentary through careful aggregation--it builds it with the smaller lego pieces available elsewhere. The traffic spike that we see from it suggests that Arts and Letters Daily has real credibility amongst its readers: they trust it to take them places worthy of attention. It is a sort of Michelin guide for that tribe. When I click through an A&L Daily article, I arrive at it with all sorts of preconceptions: I arrive at the article not with a mind as a blank slate, but ready to resume my conversation with the cultured right. A&L has framed my reading just as a newspaper's commentary pages does."(openDemocracy | the blind newsmaker | Tony Curzon Price)

- See: Politics

:: note :: ... have been off&on an Arts and Letters Daily reader ... know this tendency of reading to support My world view ... struggle to open to the other ...

Wednesday, January 23, 2008

6 Word Stories

Lost her. At night he wept. (true story)
6 Word Stories Facebook group

- See: Story Facebook

:: note :: ... through the myriad of web connections found myself writing a 6 word story ...ivoryfishbone led me there ... the web is what you make it ...

Monday, January 21, 2008

Gaia work


- See: Images

:: note :: ... though a useful link the image evoked a recent work ...

Sunday, January 20, 2008

Wayback Machine

A picture named Blog.jpg


- See: Technology

:: note :: ... this was the last page of a blog which ceased to be serviced years ago ... wayback machine preserves the past ... am thankful & will take the past into a living place ... for how long? ... remembering on this screen is like borrowed word (McCarthy) borrowed time with borrowed eyes in a borrowed world ...

Friday, January 18, 2008

post apocalyptic

"All of this like some ancient anointing. So be it. Evoke the forms. Where you've nothing else construct ceremonies out of the air and breathe upon them."(Cormac McCarthy. The Road. 74)

- See: Artists

:: note :: ... end of delayed term ... redemptive ceremonies must be reenacted even with passion gone ... huge sense of futility ... so be it ...

Sunday, January 13, 2008

Tiravanija's gift

"Tiravanija is a Potlatch-Conceptualist. The Native American potlatch is a banquet lasting several days, given by a member of the tribe: artistically speaking, that's what Tiravanija does for his art-world tribe. He cooks, you come; he gives, you take. The word potlatch means "big feed," hence Tiravanija is a "feeder." In the dialect of the Northwest Haida tribe, potlatch also means "killing wealth"; in other words, to give something for free is to undemline wealth. Tiravanija seems to suggest that as wealth is accumulated, fewer and fewer people can enjoy it. To buy means to strike a deal. Things are clearly understood--a stasis occurs. A gift is different. A gift is more mysterious than property. The weight of a gift continually shifts from giver to receiver, creating reciprocal obligations. A gift also involves an emanation of Eros."(A short history of Rirkrit Tiravanija - Thai artist who cooks meals as installation art
Art in America, Feb, 1996 by Jerry Saltz
)


- See: Artists

:: note :: ... around the "holiday" season gift was a plague ... this "shifting weight" was a burden not clearly understood ... "killing wealth" a compromising act ...

Saturday, January 12, 2008

Conviviality

"Freedom and dignity will continue to dissolve into an unprecedented enslavement of man to his tools.
As an alternative to technocratic disaster, I propose the vision of a convivial society. A convivial society would be the result of social arrangements that guarantee for each member the most ample and free access to the tools of the community and limit this freedom only in favor of another member‚s equal freedom."
(Tools for Conviviality - Ivan Illich)

- See: Terms

:: note ::... reading regarding the use of our tools ... conviviality is a concrete map for a new social order ...

Tuesday, January 08, 2008

times way

disembodied voices came from the shadows of the abyss light

reciting passages snatched randomly

spoken quietly ...


a songstress underneath the weight of the dreamwords rose to distract the gauze scrim

hanging like a torn wedding dress

dreaming of love ...


a billowed skypath ending at a door blocked by sandbags reminding

that no journey may ever begin

nor end in death ...


the eyes pleaded mercy or rebelled in boredom not daring to share
the fears so near to darkness

or simply waiting ...


for what?

- See: Poetry

:: note :: ... students work on Mary's Wedding ... Proust Swann's Way voices at home ... we all in our ways search for lost time ...

Sunday, January 06, 2008

love is

love is a place
& through this place of
love move
(with brightness of peace)
all places

yes is a world
& in this world of
yes live
(skilfully curled)
all worlds

- e.e. cummings


- See: Poetry

:: note :: ... one year ...

Saturday, January 05, 2008

looking out

A picture named lookingout.JPG (Kathryn Green from Recreated exhibition
)


- See: Artists

:: note :: ... the urge to look out this year ...