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Theatre is the act of pointing out. Performance is dissimulation. Theatre is simulation. Where everything has been pointed out, even more, where chaos can be  pointed out, there is no room for time. Performance cannot simulate chaos; it can but only as dissimulation. Theatre spatialises time. Cinema, the moving image,

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Creative New Zealand (state funding body for the arts), responding to Shakespeare Globe Centre New Zealand’s application for funding, “specifically questioned ‘the role and relevance of Shakespeare in Aotearoa.’ It […] also stated that ‘the genre [Shakespeare] was located within a canon of imperialism and missed the opportunity to create

Mario Levrero’s The Luminous Novel came out in 2005, a year after Roberto Bolaño’s 2666. Where Bolaño’s work is full to the brim, Levrero’s is, writes Annie McDermott, his translator into English, empty–but empty to the brim. Mauro Libertello writes: If Roberto Bolaño showed us

I’d been invited to a screening in the internal courtyard at the back of the house rented by the friend who makes movies, short films. His attention was elsewhere when I arrived, since there were others there who were quite at home and on a table were bottles. I

This is the police mortuary, the tradesmen’s entrance to the Court, as it were. Here are delivered the raw materials of justice, corpses that are precipitates of strange experience, alloys of fear and hate and anger and love and viciousness and bewilderment, that the Court will take and refine