Monday, November 26, 2007
Baraka & Theatre of Cruelty
Theatre of Cruelty is a concept in Antonin Artaud's book Theatre and its Double. “Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds” (Artaud, Theatre and its Double). By cruelty, he meant not sadism or causing pain, but rather a violent, physical determination to shatter the false reality which, he said, lies like a shroud over our perceptions. To put it another way, it's not cruelty in the sense of being violent, but the cruelty it takes for the actor to completely strip away their masks and the cruelty of showing an audience a truth that they don't want to see. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language halfway-between thought and gesture. Antonin Artaud described the spiritual in physical terms, and believed that all expression is physical expression in space.
You might notice above some concepts central to our discussion of the primitive/modern: "our present state of degeneration," the merging of the material/spiritual, also the "shattering of false reality" that literature can often abet.
In Dutchman, pay special attention to signs of these concerns--specifically, the notion of a language that is between thought and gesture--a new kind of realism that is designed to shock audiences in a primal, Neitzschean way.
Of course, others have stated: "the Theatre of Cruelty has often been called an impossible theatre--vital for the purity of inspiration which it generated, but hopelessly vague and metaphorical in its concrete detail." Is there a vagueness in detail or "message" in Dutchman, or does Baraka update his work to make it politically relevant?
Tuesday, November 13, 2007
Incest, Family, Politics (A Review)
Finally, what kind of political commentary might be implicit in the description of the peoples of Cliff City? In the description of the city as a place of "design"?
Monday, November 12, 2007
The Professor's House
A close reader might also discover an incredible interest in colors throughout the text: Ch. 1 tells us about St. Peter's view, "From the window he could see, far away, just on the horizon, a long, blue, hazy smear--Lake Michigan, the inland sea of his childhood." There are many such--aesthetic?--appreciations throughout the text, and many such dwellings upon "observation": it's worth asking what role they have in the text.... Are they part of a larger dialectic?
Monday, November 5, 2007
In Our Time & The Multiplicity of Experience
Wednesday, October 31, 2007
William Carlos Williams, "The artist works to express perceptions rather than attain standards..."
Williams, who closely followed some of the painters we are discussing, noted that "abstraction... has renew[ed] and reclarif[ied] pure form... The writer attempts to present the sense of the moment, revealed in climaxes of intelligence (beauty) through continually refreshed crystallizations of form."
Consider, in light of these rather complicated remarks, his interest in perception and time (Duchamp's Nude), and how this influences form in Williams' work.
THE GREAT FIGURE
Among the rain
and lights
I saw the figure 5
in gold
on a red
firetruck
moving tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city.
Pastoral
- WHEN I was younger
- it was plain to me
- I must make something of myself.
- Older now
- I walk back streets
- admiring the houses
- of the very poor:
- roof out of line with sides
- the yards cluttered
- with old chicken wire, ashes,
- furniture gone wrong;
- the fences and outhouses
- built of barrel staves
- and parts of boxes, all,
- if I am fortunate,
- smeared a bluish green
- that properly weathered
- pleases me best of all colors.
- No one
- will believe this
- of vast import to the nation.
Portrait of a Lady
- YOUR thighs are appletrees
- whose blossoms touch the sky.
- Which sky? The sky
- where Watteau hung a lady's
- slipper. Your knees
- are a southern breeze--or
- a gust of snow. Agh! what
- sort of man was Fragonard?
- --as if that answered
- anything. Ah, yes--below
- the knees, since the tune
- drops that way, it is
- one of those white summer days,
- the tall grass of your ankles
- flickers upon the shore--
- Which shore?--
- the sand clings to my lips--
- Which shore?
- Agh, petals maybe. How
- should I know?
- Which shore? Which shore?
- I said petals from an appletree.
The Young Housewife
- AT ten A.M. the young housewife
- moves about in negligee behind
- the wooden walls of her husband's house.
- I pass solitary in my car.
- Then again she comes to the curb
- to call the ice-man, fish-man, and stands
- shy, uncorseted, tucking in
- stray ends of hair, and I compare her
- to a fallen leaf.
- The noiseless wheels of my car
- rush with a crackling sound over
- dried leaves as I bow and pass smiling.
- ORROW is my own yard
- where the new grass
- flames as it has flamed
- often before but not
- with the cold fire
- that closes round me this year.
- Thirtyfive years
- I lived with my husband.
- The plumtree is white today
- with masses of flowers.
- Masses of flowers
- load the cherry branches
- and color some bushes
- yellow and some red
- but the grief in my heart
- is stronger than they
- for though they were my joy
- formerly, today I notice them
- and turned away forgetting.
- Today my son told me
- that in the meadows,
- at the edge of the heavy woods
- in the distance, he saw
- trees of white flowers.
- I feel that I would like
- to go there
- and fall into those flowers
- and sink into the marsh near them.
Tuesday, October 30, 2007
Mina Loy's "Songs To Joannes"
- The publication of Mina Loy's "Songs to Joannes" so angered a leading female poet of the time (Amy Lowell) that she vowed never to publish in the same journal as Loy. Known for wildly experimental, artful, complicated and compact poetics, Loy's poems (below) tell the tale of a illicit affair and abortion, material unknown to the poetics of the time (1917). Consider how (if) such a tale indeed emerges through her often distorted poetics; consider also how, like Cubism, Loy's poetics blur relations, and double and triple the meanings of words--something modern poets called logopoeia: the use of words not only for their direct meaning but also for the surprising, ironic, play between them.
I
Spawn of fantasies
Sifting the appraisable
Pig Cupid his rosy snout
Rooting erotic garbage
"Once upon a time"
Pulls a weed white star-topped
Among wild oats sown in mucous membrane
- I would an eye in a Bengal light
- Eternity in a sky-rocket
- Constellations in an ocean
- Whose rivers run no fresher
- Than a trickle of saliva
-
- These are suspect places
-
- I must live in my lantern
- Trimming subliminal flicker
- Virginal to the bellows
- Of experience
- Colored glass.
II
- At your mercy
- Our Universe
- Is only
- A colorless onion
- You derobe
- Sheath by sheath
- Remaining
- A disheartening odour
- About your nervy hands
III
- Night
- Heavy with shut-flower's nightmares
- ---------------------------------------------
- Noon
- Curled to the solitaire
- Core of the
- Sun
V
- Shuttle-cock and battle-door
- A little pink-love
- And feathers are strewn
VI
- Let Joy go solace-winged
- To flutter whom she may concern
- IX
- We might have coupled
- In the bed-ridden monopoly of a moment
- Or broken flesh with one another
- At the profane communion table
- Where wine is spill't on promiscuous lips
-
- We might have given birth to a butterfly
- With the daily-news
- Printed in blood on its wings
X
- In some
- Prenatal plagiarism
- Foetal buffoons
- Caught tricks
- --- --- --- --- ---
- From archetypal pantomime
- Stringing emotions
- Looped aloft
- --- --- --- ---
- For the blind eyes
- That Nature knows us with
- And most of Nature is green
- --- --- --- --- --- --- --- --- --- --- --- ---
XI
- Green things grow
- Salads
- For the cerebral
- Forager's revival
- And flowered flummery
- Upon bossed bellies
- Of mountains
- Rolling in the sun
XVII
I don't care
Where the legs of the legs of the furniture are walk-
ing to
Or what is hidden in the shadows they stride
Or what would look at me
If the shutters were not shut
Red a warm colour on the battle-field
Heavy on my knees as a counterpane
Count counter
I counted the fringe of the towel
Till two tassels clinging together
Let the square room fall away
From a round vacuum
Dilating with my breath
XXXII
The moon is cold
Joannes
Where the Mediterranean----------------
Gertrude Stein
What way to consider to the relationship between painting and poetry at this time is think of them as homologous arts---both foregrounding the materiality of the medium--paint/words--and obscuring the content, or referent. Consider how these two poems from 1914 function structurally:
A MOUNTED UMBRELLA
by: Gertrude Stein (1874-1946)
- HAT was the use of not leaving it there where it would hang what was the use if there was no chance of ever seeing it come there and show that it was handsome and right in the way it showed it. The lesson is to learn that it does show it, that it shows it and that nothing, that there is nothing, that there is no more to do about it and just so much more is there plenty of reason for making an exchange.
A LONG DRESS
by: Gertrude Stein (1874-1946)
- HAT is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current.
- What is the wind, what is it.
- Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.