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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-

snap 66

repetition, rendition, recognition, representation, return, rerun: torture

Repetition was key to the representations of hell our teachers unveiled to us. Without repetition, the eternal dimension would have seemed flat and less frightful. – Carlos Eire, Waiting for Snow in Havana, pp. 172-173

Bene-Deleuze’s theatre of subtraction (re: Carmelo Bene’s production of Shakespeare’s Richard III) -1

Shakespeare était auteur, acteur et chef de troupe. Dans sa vie lui-même a été un spectacle. A présent il est un texte. Il faut être un beau salaud pour lui refuser l’infidélité qui lui est due – Carmelo Bene in an interview Deleuze’s commentary, in “Un manifeste de

shortly before the sacking of the palace

It is all so ugly. … I would much rather join those who prefer to float on their backs for a while, drifting on the ocean with their eyes turned toward heaven, and who then go down with a little prayer. …it is not in my nature to tilt against the