Residual would be the word I was looking for in the previous post, in which Duchamp’s infra-mince is again at work… …or David Byrne’s sound that never leaves a theatre… – knee play 1, drawing by Robert Wilson …from the knee plays… – for the CIVIL warS, Robert Wilson, the

What happens when the characters from this play drop the words that up to this point they’ve been speaking, when they forget the expressions and gestures they’ve been rehearsing, and leave the play behind altogether, to walk, like children in an enchanted wood, through the story of Semele,

Jonathan Kalb tells Heiner Müller that Brecht has never been in fashion in the States, to which Müller, according to Kalb, answers: “”That’s because Americans are all innocents.” The most difficult audiences in the world and “the most dangerous people” are “those who feel innocent of everything.”” – in Jonathan

– Three Sisters at the Moscow Art Theatre Chekhov is also bringing from his journalism a sharp eye for the obsessive, for the ludicrous ease with which we ignore other people’s needs. This is a farce technique, but now used for something a farceur hardly aspires to: a hymn to

Gibson is back with his trademark use of language to set mood and feeling – review by S. Potter “thepothole” of William Gibson’s Spook Country, @ amazon.com . Now that the present has caught up with William Gibson’s vision of the future, which made him the most influential science fiction

A vision differs from a mission, or statement of mission, and from a prediction, according to the EPOC Workbook. A prediction extrapolates from the present into the future. It renovates the past and tends not to innovate or create a new and envisioned future. A mission describes a present purpose