Liz wrote:
>I have the first ten pages of script, and have emailed Mandy to ask
>permission to show it - if members of the list are interested in the chance
>to see this work and get some better impression of it than I can give.
If Mandy has no objection, I'd be very interested to see the text - the
performance sounds fascinating.
It makes me wonder how much it had in common with Alaric Sumner's piece,
performed by an actor with a video behind him, which I also never saw,
although I read various descriptions of it and the text. (I can't quite
remember the title - it was something about Rooms - Darkened Rooms?)
There it seemed much that mattered about the performance was the
possibility of conjunction and disjunction; although the video was of the
performer himself.
There's a writer in Melbourne, Margaret Cameron, who's calls herself a
"solo female performer". She writes texts for herself and performs them.
They're deeply poetic, drawing a lot from Helene Cixous, but utterly
individual; pieces which might easily be read as prose poetry. She's
AMAZING. (On at Playbox in June/July, I believe, with two short pieces
called KNOWLEDGE AND MELANCHOLY and BANG: A CRITICAL FICTION, for those
here and interested).
And in response to George: I'd forgotten about Serious Money, yes, that's
a great play. Lorca used verse for very specific reasons in his dramas:
"Well wrought free prose can soar to expressive heights, freeing us from
the confinement and rigidity of metre. Let us welcome verse at times
when the excitement and disposition of the theme demand it, only then."
Then the poetry could "dominate the stage". But his "free prose", I have
say, to looks very like poetry to me.
Best
A
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