Saturday, October 29, 2005
Saturday, October 22, 2005
"The Penelopiad: The Myth of Penelope and Odysseus by Atwood is a retelling of Homer's story from Penelope's point of view. Atwood told Reuters she almost pulled out of the project after she failed in several attempts to write about different myths."
"Homer portrays Penelope as the faithful wife who holds the country together and raises a son while Odysseus is off fighting his wars. When Odysseus returns, he kills Penelope's suitors and her maids."
"Atwood said she was haunted by the tale of the 12 hanged maids and her book reveals what Penelope was really up to. "The story as told in The Odyssey doesn't hold water," she said. "There are too many inconsistencies.""
"'I grew up thinking that history is the stuff that makes newspaper headlines and gets analyzed by journalists, while myth was something that primitive people swapped around the campfire. The distinction seemed quite simple," said author Michael Faber in an interview with Reuters."
"'Recently I realized that the distinction is nonsense," he said. "We are living in a post-Enlightenment era of mythology, a volcanic eruption of new legends. Savage, virile metaphors to rival anything from the Bible or the Bhagavad-Gita hold sway in our awed and anxious world.' "(cbc.ca |World's top writers recruited to rewrite ancient tales)
Friday, October 21, 2005
Byung-Hun Min . . . artistic statement . . . Nature in Korea is rather small, delicate and sensitive to me. I come closer to it much more easily. And I try to see it with a serene state of view.
:: note :: . . . found at wood s lot what has become the most important site on the web . . . a place to return to again and again . . . changes with the consciousness of the days and the cycle of the seasons . . . many recognized as another year passed a short while ago . . . decided to wait . . . glad i did . . . the above statement speaks to how to approach such places on the web . . .
Saturday, October 15, 2005
. . . Scorched Ice by Mansel Robinson receives a studied perfomance by Last Exit Theater . . . . . . the words are carefully crafted . . . the back & forth scenic structure drives the action past the target of the harrowing threat of nuclear holocaust during the Cuban Missile Crisis to a coming of age story . . . the voice of the play is strong and sure . . . rich & resonant in metaphor the sparse action is deliberate & evocative . . . the characters constantly tremble trapped or fleeing a harsh, inexplicable existence . . . the naive childish backdrop used to project the plodding of the nameless and phantasmagorical refugees or the universal night sky gives a luminous depth to the narrative . . . Yet . . . during my early training a wise man of the theater instructed: "cut the spoken which doesn't advance the action . . . let the actions speak" . . . a playwright needs to trust action . . . a director courage to keep the words on the page to release the action . . . the actor to play between the words to circulate action . . . the volatile nature of Scorched Ice demands not a well tempered serious reading but a free wheeling ride . . . Robert Benz, as the grandfather, held a flame to his hand challenging us to smell burnt flesh . . . lighter fluid filled the air . . . for a brief moment I flinched . . . took a sharp intake of breath . . . the lungs scorched . . . Skye Brandon and Last Exit Theater as part of the Live Five season continues to search for "new audiences" and broaden the theater landscape . . . a worthy aim . . . simply dare to risk more . . .
Thursday, October 13, 2005
Tuesday, October 11, 2005
Monday, October 10, 2005
"A modern and ironic look at Commedia dell'Arte. Impressions from a comic and poetic world full of meetings and clashes that reveal themselves through dances and extraordinary loves."(Teatrino Giullare | Serenades)
:: note :: . . . attended a splendid performance . . . beyond words . . . beyond thoughts . . . "Beyond the barriers" pushed deep into the heart and gut to stir laughter and awe . . . from clowns of the absurd through poetic gestural language back to the tradition of commedia dell' arte the scenes danced, sometimes wildly and other times gently, around the place where theater eludes precise meaning and moves beyond to the mystery of the rhythm and irony of life . . .
. . . a brilliant bricolage where each group performed intimations of meaning about vulnerability & finitude and futility & fragility . . . archaically physical all the works were propelled by actors exploring an explosive dynamic . . . and there resides the power of "Beyond the barriers" . . . theater as search and serendipity . . . no piece was based on finding the right answer . . . what it seemed based on was linking to the next question . . . to curiosity . . . to tinkering with bits of stuff and the funny tools of theater like clown noses and puppets . . . to put that stuff together into entirely new and heretofore unimagined kinds of 'lazzi' . . . a dazzling afternoon conceived by Wide Open Theater . . . thanks . . .
Sunday, October 02, 2005
"The first difficulty that we face in order to understand correctly the workings of tragedy according to Aristotle stems from the very definition which that philosopher gives of art. What is art, any art? For him , it is an imitation of nature. For us, the word "imitate" means to make a more or less perfect copy of an original model. Art would, then, be a copy of nature. And "nature" mens the whole of created things. Art would, therefore, be a copy of created things."
"But this has nothing to do with Aristotle. For him, to imitate (mimesis) has nothing to do with copying an exterior model. "Mimesis" means rather a "re-creation." And nature is not the whole of created things but rather the creative principle itself. Thus when Aristotle says that art imitates nature, we must understand that this statement, which can be found in any modern version of the Poetics, is due to a bad translation, which in tern stems from an isolated interpretation of the text. "Art imitates nature" actually means:"Art recreates the creative principle of created things.""(Augusto Boal. Theater of the Oppressed. 1)
:: note :: . . . translation the bane of all research . . .