|||

Jónsi and Artaud

I will try to elaborate on what I mean in a subsequent post; let me just say that the Jónsi set seemed to realize Antonin Artaud’s theater of cruelty. Not decor,” Artaud writes in the First Manifesto, but rather hieroglyphic characters, ritual costume, thirty foot effigies of King Lear’s beard in the storm, musical instruments as tall as men, objects of unknown form and purpose” will produce a theater in which the audience does not watch a drama on stage but rather is encircled and furrowed by” performance. The language of manifesto, no doubt; but Artaud’s aspiration that theater become at once participatory and conceptual has of course intrigued directors, actors and playwrights since the 1930s.

This from Allison Carruth, writing about Jónsi (from Sigur Ros): ow.ly/1zBCF

Pretty big call! (but I’m going to see Jónsi in May to check it out).

Up next not much to do with art, but fun anyway thinkgeek.com/stuff/41/iCade.shtml Monks Aid Rescue Effort in Kyegundo SFTHQ on Flickr. Some rights reserved. First viewed at guardian.co.uk/media/pda/2010/apr/21/newsbucket
Latest posts memory is like a wikipedia page not standing on your own stumbling across down autobiography in five short chapters the pleasure of making things Corporeal Epistemics two people together blog post two people together g the invention of clothing embodied and disembodied emotions are you comfortable there? being heard discarding tribal allegiance Racism and Contemporary Dance algorithms city roads beyond ideas of wrongdoing and rightdoing dance my life away git move slow consent is only meaningful if it is informed just like you the ordinary people terrible sex the long arc end of a dancer stuck on a sentence the worth of an idea on silence and speaking