then Gilles Deleuze gave up depths in favour of a sort of transversality and big tablecloth
The sharks remain as silent as a woman who’s trying to hide her thoughts in order to spare your feelings. – Carlos Eire, Waiting for Snow in Havana, p. 312
AIP
The audience is also in performance. OR
The performance is also of an audience. &
We are you.
…
– “The Yellow T Shirt” by Paul Haggith
Gusanos – worms. Or counter-revolutionaries. Or revolutionaries. Or recidivists. Or those accused of recidivism. Without it having been proven. Suspected. Suspects. Suspected of negative feelings. Misgivings.
cultural politics are redundant exercises in the economics of public life
The chief thing for us to do is to start creating real alternatives in popular theatre to the community theatres and the shopping centres which reflect, not the spiritual power, but the moral stupour of our cultural explosion. I am thinking of regional centres, widely recruited audiences, in collaboration with
a figure, or a ‘figural character,’ looks over the horizon
before-the-scenes notes for study for a passion/telling on the telling: towards a machinic meez
Mise for study requires a shaker, an automated system to deliver a continuous shower of ash onto the stage, increasing in density as the piece proceeds. Possibly a machine driven by belts to link a quiet electric motor to an offset wheel, connecting, in turn, to a fine mesh cage
THE BEAN
reassignment, fa-afine, mahu, kathoey, xanith, hijara, hsiang ku, berdache & the faecal child
– etching by de Bry, “Balboa’s Dogs Attacking a Group of Panamanian Sodomites”
Being a berdache – that is, a man who behaved much like a woman, or occasionally a woman who behaved like a man, in a Native American tribe – was not soft option. As well as customarily providing non-berdaches