I LOVE Dylan Thomas. My son Josh did the beginning of Milk Wood for his VCE
final year drama, and it was such a pleasure returning to that language. I
never understand why people are so snotty about his work. And good work is,
as far I'm concerned, always good work. I actually grew up on radio drama
(we didn't have a tv, which might explain why I find so much of it baffling
and boring) and I wish radio drama here was richer, in all senses -
xA
On 6/9/07, MC Ward <[log in to unmask]> wrote:
>
> I did a degree in theatre, Alison, and directed
> Bernarda Alba for my senior project. I share your
> enthusiasm.
>
> As for question #1, no discussion (or composition, for
> that matter) can afford to ignore the words OR the
> body whose voice and _gestus_, some of which are
> lyrical. I keep thinking about Under Milkwood. Does
> that have any resonance with you, or is it too old
> hat?
>
> Candice
>
>
>
> --- Alison Croggon <[log in to unmask]> wrote:
>
> > Old hobby horse here. (I _did_ change the title of
> > this thread, after
> > all...)
> >
> > Anny: Joe said that the theatrical I was not
> > problematised in the way the
> > poetic lyric I is. ("The I in the theater is
> > certainly interesting, but it
> > is not the problematized lyric I this discussion
> > began with.") I gave a few
> > example where the I is deeply problematised in ways
> > that run parallel to the
> > problematised lyric I. Capiche?
> >
> > One question: do all of you think that speculations
> > about the body and
> > spoken utterance are utterly irrelevant to poetry
> > (and particularly to
> > lyric?)
> >
> > Question two: shall I get off this list and leave
> > you all in slumbrous
> > peace? Enthusiasm doesn't seem to go down well here
> > -
> >
> > Puckishly
> >
> > A
> >
> >
> >
> >
> >
> > On 6/9/07, MC Ward <[log in to unmask]> wrote:
> > >
> > > Anyone else interested in the "lyrical we"? To me,
> > it
> > > divides modernism from its latter-day
> > manifestations
> > > (but NOT postmodernism). The reason why the "I" in
> > To
> > > Pollen is so shocking is that Prynne seems to have
> > > rejected "I" for "we" a long time ago. What's
> > bringing
> > > it back, I wonder?
> > >
> > > Candice
> > >
> > >
> > >
> > > --- Roger Day <[log in to unmask]> wrote:
> > >
> > > > On 6/8/07, Joseph Duemer <[log in to unmask]>
> > wrote:
> > > > > Alison wrote: It's hard to avoid the word "I"
> > in a
> > > > play. And the "lyric I"
> > > > > in writing for theatre is particularly
> > > > interesting, and perhaps
> > > > > illuminating. Beckett's Not
> > > > > I, for example... "
> > > > >
> > > > > I was just noting that the subject of the
> > > > discussion had shifted. The I in
> > > > > the theater is certainly interesting, but it
> > is
> > > > not the problematized lyric
> > > > > I this discussion began with. That's fine, it
> > is
> > > > the way discussion go. I
> > > > > was just making a note of it. (As anyone can
> > see:
> > > > we're now off on the
> > > > > subject of the body in theater!)
> > > > >
> > > > > jd
> > > >
> > > >
> > > > Well, yes. I can see Alison's hobby horse
> > cantering
> > > > by (^_^)
> > > > >
> > > > > --
> > > > > Joseph Duemer
> > > > > Professor of Humanities
> > > > > Clarkson University
> > > > > [sharpsand.net]
> > > > >
> > > >
> > > >
> > > > --
> > > > My Stuff: http://www.badstep.net/
> > > > "In peace, sons bury their fathers. In war,
> > fathers
> > > > bury their sons."
> > > > Roman Proverb
> > > >
> > >
> > >
> > >
> > >
> > >
> > >
> >
>
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> > --
> > Editor, Masthead: http://www.masthead.net.au
> > Blog: http://theatrenotes.blogspot.com
> > Home page: http://www.alisoncroggon.com
> >
>
>
>
>
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--
Editor, Masthead: http://www.masthead.net.au
Blog: http://theatrenotes.blogspot.com
Home page: http://www.alisoncroggon.com
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