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The Absurdist - Seriousossity

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Absurdist Seriousossity: The Necessity of Focus

In the production of almost *any* work: Text/words/non-symbolic absolutes are required. Consider one of the earliest [
Note 2] documented examples of absurdist theatre, "Ballet Realistique" ??sp?? by Jean Cocteau. As part of the production was the need for what we would now "sound effects" and "special effects" (SFX and FX, respectively) - specifically the need for a typewriter machine (see map) to "played" in a musical fashion as well as a pistol to be fired at appropriate times during the performance. Obviously such "musical instruments" would require special attention to detail. For example, the use of a type writer machine (predating John Cage's works for "prepared piano") would require considerable preparation of the "score" as well as an exploration of the possible tonalities that could be produced. More importantly, so that no one would be injured the use of the pistol would raise many severe safety concerns not the least of which would be setting off of a fire in the theatre - we assume UN-intentionally. Note that even if the pistol was loaded with "blanks", they are *far* from safe; eg, one of the former drummer's of the band "Chicago" held up a gun to his temple and "play acted" shooting himself which due to the "cotton wadding" actually penetrated his cranium, killing him - his mother donated his organs for transplant saying that he was always such a giving person; of those things, i can only think of the total absurdity of the situation and only always wonder when listening to a recording of any of the works by Chicago if Keith was the drummer in that performance. So, as we can see the need for *very* serious seriousossity in even the most whimsical of productions must be carefully attended to; and there-to, of - as well. For example in "Twilight Zone the movie", we know that Vic Morrow and two of the young child actors died in a non-stunt portion of the filming [Note 3] of that film. So, the concerns of *such* serious play are *never* to be taken lightly. To change the subject abruptly, one needs only insert a line such as this. In the use of non-graphic "story boarding", the writer of a play will often introduce specific *stage directions* so as to help in explaining what the play-wright had in mind when the scene was being composed in their mind during the writing/re-working/etc of the play. Of course, how the performance is actually implemented will vary depending upon such factors as site-specificity (eg, cf/qv: Shakespere in the Park, vs the Folger Theatre in Washington DC, vs The Globe Theatre in Stratford on Avon), the cast/crew that are available (eg, the music in Nicholas Meyer's version of -[Time After Time]- using Miklós Rózsa as the composer - more well known for high-drama, epic westers, etc. The choice garnered the film a Saturn Award (SF film literature: Best Musical Score), etc. Thus, since (in theory - according to both formal (eg, Kurt Goedel) and in-formal (Jorge Luis Borges) analysises, ALL non-textual things can be represented by text; forgive my leap of faith that even maths can be expressed as context-free non-symbolic texts independent of any specific air-ith-mehtic representation. Thus, even this text which uses a rather rigid style might be expressed stylistically via other mediums. As in Frank Zappa's "Dancin' Fool", the idea that one could "danse one's face" -- thus, we can assume that for ANY non-textual object (eg, the Lascaux Caves, The Belly of the Smiling Buddah, the final 12 measures of Gustav Mahler's 1st symphony, any of the pre-post-modern feminist analysises of the "woman" (fem fatale) in the film noir genre, etc - that EACH of these can be translated either into text and then re-translated into any other medium or directly trans-mogrified from one non-textual medium directly (or in-directly but NOT passing thru a textual inter-phase) into another medum - or even being re-transalted from one version in the medium to another version (eg, Modest Myuzorski's "Pictures at an Exhibition" translated (formally called "orchestrated") from the original piano composition into the full orchestra version by (eg) Maurice Ravel and Leopold Stokovskii) - that we shouldn't complain if "something has been lost in the translation". Indeed, as the author Tom Robbins (best known for his novel "Even CowGirls get the Blues") was quite pleased with the translation of the word "jitterbug" in one of his short stories. That is: Even sometimes, things are NOT "lost in translation". This concludes our presentation at this time, and questions will now be enter-tain'd.

Notes[Note 1]

(this section only) [1] These notes are presented *only* for completeness. No liability, warranty (expressed or otherwise) is intended. Some restricitons apply. The purchaseur must take delivery from available stock. See dealer for details. {
Back to the TEXT, above} [2] In a rather informal (but very historically verifyable way) the *first* example of absurdist theatre pieces was the production of "Ubu Roi" (and earlier performances of it in its "proto" existances) by Alfred Jarry. See also: -[]- -[www: JeanCocteau.Net]- (FR) -[]- -[]- {Back to the TEXT, above} [3] Refer to -[Google: "twilight zone the movie" "killed in a helicopter" ]- (tips towel to a fine actor, and the sadness that we feel for those that *for a brief time* lift us out of the veil of teers that we must endure. {Back to the TEXT, above}