if . . .

"In these dreadful times, it gratifies me immensely to listen to the voices of individual artists inculcating the lessons of human history through the work of human hands and minds, and making their remote experience immediate through their recognition of the worthiness of that work. For me, this is precisely what it means to accept the value of the modern world - finding a way to synthesize disparate elements of culture into a specific personal iconography of the self, and being able to remain open to the changes this exploration provokes. For this stands against the fundamentalist view of human life, the dogmas of fixed belief that threaten the future of the whole world. Again and again in every age, artists urge us toward life in the spirit, and away from death. That is why death-seeking cultures always subvert and attempt to destroy their artists." (the Spleen:Culture/ Invitation to Dance )

"In these dreadful times, it gratifies me immensely to listen to the voices of individual artists inculcating the lessons of human history through the work of human hands and minds, and making their remote experience immediate through their recognition of the worthiness of that work. For me, this is precisely what it means to accept the value of the modern world - finding a way to synthesize disparate elements of culture into a specific personal iconography of the self, and being able to remain open to the changes this exploration provokes. For this stands against the fundamentalist view of human life, the dogmas of fixed belief that threaten the future of the whole world. Again and again in every age, artists urge us toward life in the spirit, and away from death. That is why death-seeking cultures always subvert and attempt to destroy their artists." (the Spleen:Culture/Invitation to Dance)

1. Belief. I believe in the beginning and end for the middle is so difficult. Too many twists and turns which inevitably result in anguish. Gentleness does not equal a quiet freedom or choice. Silence is unbearable. Selfishness requests more and more. If is the experiment. Experience inspires but does not overcome. 2. Thought Thinking that it would pass I took to the night as vision is more than sight. To touch each moment with a fresh sensibility transforms the banal. It takes practice, a calculated risk and trust. Trust in the Other. Don't look now but thoughts speak without resolution. Talking to yourself. Dream shapes the unknown into the known 3. Mystery. Embrace intuition as an act of survival. Informed intelligence is a multifaceted jewel demanding sharp diamond work. Acts of the heart. Emotions can pollute and arouse but they inform. Courage to deny. Follow the spirit towards the place you never knew. Memory researches the deepest interiors. 4. Play. One. Two. Three, Four. ...

. . .the artist/the soul of the artist/what it is to be human. . . a hazardous pilgrimage beyond the moment of resignation . . . an individual and yet universal meditation on the theme of living in a world of stress, doubt and peril . . . a symbolic expression on the perception of lonliness - and the inextinguishable hope for an existence beyond bodily death . . . ressurection . . . see RR

"He proved long ago that the intimate yearnings of ordinary people are destructive . . . " (nytimes: arts )

"In everyday life 'if' is a fiction, in the theatre 'if' is an experiment. In everyday life 'if' is an evasion, in the theatre 'if' is the truth. When we are persuaded to beleive in this truth, than the theatre 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, than it is not work any more. A play is play." -- Peter Brook. The Empty Space, p. 157.

. . dissolve the line between art & life . . . cauterize the wounds . . . lost bitterness over the lies . . . nothing heals but healing itself and crawling into the tunnels of . . . "explore the moral structures which guide and direct what people do with their desires"(dissolving a quote) . . . so you like the shadow and the twisted heads . . . corrective stance and all . . .