. . . Urs Widmer's Top Dogs . . . Satire . . . overarching political and cultural satire into a "psychopathological" (from the program notes) satire . . . the corporate class elicits our pity and we can't help but be tinged with self righteous satisfaction . . . I'm not them! . . . the structure is many disjointed short scenes resulting in an episodic and scurrilous show . . . comedy, music, and gender play fuse to ridicule . . . to belittle the messy realities of those elite (a miserable elite it is) who desire control . . . precisely acted in a sparse, clinical environment we laugh smugly . . . the writing has bold strokes which allows for collective imagination that the director, actors and audience participate in with joy . . . yet intensity occupies the territory of meanings . . . the mutual making of meanings . . . great satire has the distance, ambiguity and ambivalent facility to be conscious of itself . . . making us more conscious . . .
Heading into final week of rehearsal ... posting translation of program ... English Program The space is prepared with sound. A woman appears. This is the place where she died. Returning, can she escape death, even knowing it? But, as if by fate, she falls again. In this scene, the image of her mother, who survived Japanese colonialism flashes before her, and the breath of her ancestors overlaps. Will there be those who remember her death? If so, what meaning will it hold? The first step, where even breathing is difficult and with her broken wings she attempts to fly. To fly for those who cannot reach the sea. Collecting strength she stretches to open her wings releasing the words to fly again. Introduction: What Remains Unspoken – Raymon Montalbetti Hidden Echoes is a work built on a timeless muse and a prophetic breath yet to be unleashed. Rather than interpreting the text of “Dictée” linearly, we sought to embody the traces of a shattered soul through gesture, sound, music, and ...
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