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sixty-second part, called “on movement LXII,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing

on movement We are dealing with two different notions of movement. The one we have described both as mobility which we are subject to, and as comedy; the other we see to be static, a suppressed tragedy: that is, the human comedy subjects us, as its subjects, no others, to

R. I. P. Sylvère Lotringer

LOVE AFTER LOVEby Derek Walcott

The time will come when, with elation, you will greet yourself at your own door, in your own mirror, and each will smile at the other’s welcome, and say, sit here. Eat. You will love again the stranger who was your self. Give wine. Give bread. Give back your

#TrueCost

fifty-first part, called “subject matter LI,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing

subject matter Suppression, repression: theatre suffered these for politics. It led to a reversal of roles, but we can only speak of a role reversal in view of theatre, and of the surface with limitlessness in its potentiality, because this is where it occurs. However, there also looks to be

some lines out of Marina & Sergey Dyachenko’s Vita Nostra from the dark academy & the Ukraine + two works by Ivan Marchuk

Everything would amalgamate in front of her eyes, and then clear again. Strange harsh outlines swam out of the darkness. Sasha saw a city, sharp roof peaks, intertwined ropes and wires; one-dimensional creatures, brown like coffee grounds, jumped over them like fleas on unwashed hair. Resembling check marks drawn with

Arriaga, writer of Iñárritu’s “Trilogy of Death,” the films, Amores perros, 21 Grams & Babel, his immersive novel, The Untameable, some lines from it illustrated with works by David Gremard Romero

With pain, at least it feels as though that part of the body is still alive. Numbness is a near certainty that something in you has died. — Guillermo Arriaga, The Untameable, translated by Frank Wynne & Jessie Mendez Sayer, 2021, p.13 the story of David and Absalom … Faulkner had