journal

note to self: remember that each act demands (or deserves) a different approach, a different mood, which is in the characters, as much as the characters are in it; each act is a whole play, in part. And each act feels its own sufficiency. And then is subsumed to a

– Gorky & Chekhov in Yalta [Chekhov] warned the younger writer [Gorky] against ‘rapture,’ reminding him that grace depends on expending the least possible movement on an action … – Michael Pilkington, Are You There, Crocodile? Inventing Anton Chekhov, Oberon Books, London, 2003, pp. 92-3 – the theatre on Taganka Square, in Moscow,

Can a mask have vision? We know it can grant vision and produce spectacular effects. But without eyes, can a mask have vision? – Mask, Ferdinand Khnopff, c. 1897 We know eyes as an answer to the problem of light. Humanists make the distinction, moralising, that men and women walk in

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,

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