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Cosmopolis and chance meetings: internationalist symbolist avant-garde

Cosmopolis was a magazine published in London and New York, 1896-1898. It had three sections, German, French and English. In May 1897, Cosmopolis printed Stéphane Mallarmé’s poem, “Un Coup de Des,” for the first time. (Available in English translation, with the French, here: http://www.tonykline.co.uk/PITBR/

summary proposal for doctoral research and thesis: a crack in the theatre: T-Cell, practice and theory

A playwright writes texts intended for performance. A director rehearses and, with the help of a company, interprets these texts for the stage. An audience attends performances. A philosopher creates concepts. Theatre possesses a philosophy: it raises the problem of the ideal theatre, the fact that none is, but that

list: no concern to the living unless there move within it the reflection of these things

In 1929, someone named Velona Pilcher wrote wisely in Theatre Arts: “I don’t think it goes too far to declare that a play is no concern of a living playgoer, play-reader, producer, or player unless somewhere within it, or within the art that shall present it, there moves the

working @ PACE: day 11, On Applied Theatre and Process Drama & why I won’t be applying or processing & what a small theatre group called T-Cell is for

Today The Big Idea advertised, on behalf of the Kids 4 Drama School of Performing Arts and Productions, for a part-time drama tutor: “Kids 4 Drama offers in school and after school drama classes for children and teenagers and also provides a wide variety of Theatre In Education contracts for

this self-portrait of the Italian Symbolist sculptor, Adolfo Wildt, is sometimes referred to as the Mask of Sadness

– Autoritratto, Adolfo Wildt, 1868-1931 standing on the cusp of Symbolism and Expressionism: fluid surfaces of smooth marble torn from the model at the moment of paroxysm, like masks that have taken on their wearer’s emotion, and which, once removed, carry it with them. All that remains on the face

the tremendous and fascinating mystery of a rich art (nothing in itself or prosperity theology? discuss & compare)

– one of Gustave Moreau’s Salomes Go to the masters, they all advise us not to create a poor art. From earliest times, they introduced into their paintings everything that they knew was richest, most brilliant, most rare and sometimes most strange, everything round them that was considered precious and

public identity & transversality, a note, a link to lethal theory

The problem of a loss of the theatre, Herbert Blau brilliantly engages in The Impossible Theatre, is neither the possibility of a concomitant loss of a private, community or social space, nor that of a civic or national identity, but introduces the possibility of the loss of the individual’s