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Matvei Yankelevich

[ssegundosombra]

“…the role of the theatre audience involves the spectator's interaction with performance in both social (audience member) and private (individual) capacities. But these roles do not begin as the curtain rises. Already it is evident that issues such as cultural background and selection play significant parts in constructing these roles and, indeed, in getting audiences into theatres. In the circumstance of the theatre visit, the spectator takes on his/her role(s) before the performance per se begins. As planning (or the lack of it) plays a part in shaping receptive mood, so the ease or difficulty of attendance has its effect. How did the spectator travel to the theatre? Did he or she already have tickets? Will the amount of leisure time generally available affect the time committed to this particular activity? Or is the performance available in the workplace or at a union hall? Is the performance part of an extended leisure activity (a vacation, a night out, etc.), a celebration, a gathering of a local community, part of a university programme? Did travelling to the theatre involve a difficult journey or adverse weather conditions? All such elements of the gathering process are bound to influence the spectator's preparation for the theatrical event, and Schechner suggests that the process undertaken by the audience resembles the actors' preparation. Both, he argues, set in place the theatrical frame.”

Susan Bennett, Theatre Audiences: A Theory of Production and Reception

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Cecilia Biagini, Double Translation

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"Is psychoanalysis a translation system? From the unconscious to the impossible. When we interact, do we translate? Can we change the way we translate? Can we be free of translation? Does direct interaction exist?"

Cecilia Biagini, Double Translation

[weltenwellen]

An Interview with Richard Siken

[ssegundosombra]

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Osvaldo Lamborghini, No matar la palabra, no dejarse matar por ella

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Lucille Clifton, Next: New Poems (1987)

[quotespile]

“To experience real agony is something hard to write about, impossible to understand while it grips you; you’re frightened out of your wits, can’t sit still, move, or even go decently insane.”

— Charles Bukowski, The People Look Like Flowers at Last

[travellingsongs]

La risa

de Irene Gruss

Sabe reír. En medio del dolor se ríe y juega. En medio del dolor habla claro, cuenta que todo es simple y claro: un cuerpo, un mueble, las personas que miran, hacen, juegan; asusta su buen humor para todo, su fastidio por la ambigüedad. Sabe reír: «Nunca hubo ninguna cosa buena (el sol, la gente) que no estuviese compensada con el dolor, y al revés por qué no al revés», dice.                       Para Hebe Uhart

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Malcolm de Chazal, Magical Sense (1957)

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We are our dreams of ourselves, souls by gleams, And each to other dreams of others' dreams.

…

An unknown language speaks in us, which we Are at the words of, fronted from reality.

Fernando Pessoa, 35 Sonnets (1918), Sonnet I

[ssegundosombra]

"What is proposed ultimately and permanently: the Promethean gesture, the gesture that supersedes the cultural commodity, 'the author,' 'the artist,' 'the poet,' and dialectically subsumes these vain and masochistic inventions of our elders, the obnoxious enemies of desire and human freedom, who are parasitically ranged around and within us. In this pursuit we continue Rimbaud's program of the seer, who listens for the unheard-of, that is, the absolute becoming of what we are yet not free from, what we have yet to conquer, to supersede, namely this 'tyrant' of cultural habituation, the sniveling dog of heritages, and deeper, the chattel-slave of atavism."

Philip Lamantia, Poetic Matters

[ssegundosombra]

"My doctoral research afforded me two essential insights into Godard’s work, which remain central to my understanding of it. The first was a realization of the extent and variety of Godard’s work in different media and contexts: he was, and remains, less a conventional feature-film director than a multimedia poet, philosopher, critic, and essayist who, over the years, has produced a unique form of expanded cinema, comprising television programs, video scenarios, feature films, audiovisual pamphlets, found-footage poems, written and audiovisual self-reflective metacritical essays, critical articles, books, talks, and interviews. As I have argued elsewhere, there is no significant difference in his practice between research, work in progress, and finished artwork, and the disparate manifestations of his varied output and interventions are best thought of as the interconnected components of a vast installation under continual development on multiple fronts... The second insight concerned the integrated nature of his project, and the flow and metamorphosis within it of references, ideas, motifs, and themes. Each of his works, as Jacques Doniol-Valcroze observed perspicaciously as early as 1965, is 'to be continued' in the next – or, as Jean-Louis Leutrat aptly put it, Godard’s output as a whole constitutes a sort of infinite 'protoplasmic œuvre,' one characterized by the constant circulation of matter from one constituent work to the next."

Michael Witt, Jean-Luc Godard, Cinema Historian

[thespoonisvictory]

Ursula K. Le Guin has truly, truly never missed even once

[shihlun]

Hal Hartley

- The Cartographer’s Girlfriend

1987