outside light

Sign in Subscribe

journal

T-Cell & I @ PACE: day 2, SORT OF

To write a letter to performing artists? to the performing arts community? sector? to theatre practitioners? to theatre workers? poets, makers & workers? (wouldn’t wankers be next in the series?) to whom it may concern … ? interested parties? partisans? compagneros? erroristas? (see <<empyre>> discussion for this

cont. (from previous post): scene ii, dreams, plans and schemes, ideal, S.O.R.T. O.F.

– image courtesy OMA What theatre practitioner, performing artist, thesb, with a room or without one, a broom, or without, would not be excited by Rem Koolhaas’s re-imagination of the bricks-&-mortar playhouse he or she would claim to be more familiar with, would, indeed, claim to have a

T-Cell & I @ PACE: day 1, scene i

I am at last, after a month of the usual humiliations and frustrations, having kissed the hoops and leapt the hems at Work and Income New Zealand, moving forward on distinct and obscure pathways to arts and cultural employment. So Lynn tells me, at The Depot Artspace [see link, left]

notes on Dorothea Olkowski’s Gilles Deleuze and the Ruin of Representation, the section entitled, “The Theatre of Terror:” preparing for a theatre group called T-Cell

The breast-feeding child, in Melanie Klein’s ‘theatre of terror’ (as Gilles Deleuze calls it, with relish), sets up a literal feedback loop with the mother. Rending the maternal body into fragments, the suckling infant consumes and introjects these morsels, investing them with an infantile but, for that, nonetheless sadistic

universal light immediately confounds good and common sense (Cf. Dorothea Olkowski’s The Universal)

We are all unwell, if it comes to that, … for if some Plague were to take us all, why, these little spectra would still crawl about the room until the End of Days, neither knowing nor caring whether living hands were held up to catch them. Our flesh stops the

sugar on my tongue, I say

– Roland Barthes many say that sugar is mild, but to me sugar is violent, and I call it so – Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard, Vintage, London, 2000, p. 91 – Talking Heads “Sugar on My Tongue” – Talking Heads, 1975 Food riots have already occurred in Haiti,

ιερογαμία

– Hieros Gamos, painting by Dino Valls, 2000 THE THEATRE’S FUTURE IS PHILOSOPHICAL – Louis Althusser, 1929