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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