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zix42: Samplers: Art x Science[Sampler: Art X Science] So, again this brings us back to the whole idea that somehow the sciences are superior to the arts - as some sort of intellectual endeavour - must everything get back to measuring penuses? So, an obvious response would be war. And then that comes packaged as "If it's war they want, then it's war they'll get." Or in Bugs Bunny fash: "Of course, you realise this means war." START AGAIN Bring up (sordid/ominious music - but actually i'm listening to hot meat right now....) Oh no: not the penuuses uh-geUnh!!!! START AGAIN One sentence that sticks out (not un-like a hot red....) START AGAIN The one thng that really ticks me off (get it: It sounds like DICKS ME OFF!!!! START AGAIN (we appologise for that, we've sacked the people responsible and have hired an entirely new group to produce the response) START AGAIN START THIS PART COULD BE A PRE-PARED VID ...(slow fade from black into a very pale blue a curtain materialises in front of the audience which it can now be seen that in fact we are in an auditorium At the front as the pale blue curtain goes up the orchestra is waiting. The first violin comes in from STAGE LEFT and stops before his chair and then waits about 3/4's of a second and then bows to the audience which then applauds. Next the conductor (let's say for the sake of argument that it's Zeubin Mehta) he comes on stage - again STAGE LEFT, bows, the audience applauds and turns towards STAGE LEFT. THe guest pianist (let's just say for sake of time that it's Christina Ortiz) she comes on stage from STAGE LEFT, approaches the piano, walks beside it and reaches up to Zeubin and shakes his hand, they both turn to the audience - having switched the hands of the other person that they are holding (that is Zeubin is on her right and hold her right hand in his left hand), thusly, they face the audience and bow, the audience applauds, and Christina walks towards the piano, sits and after a brief "tune-up" they begin to play The Second Piano Concerto of Dimitrii Shostakovitch. ...).... and then of course a large paper-machey penis is paraded thru the front of the stage from LEFT TO RIGHT. START AGAIN ...(fade to the "commentator's box").... CHRIS ALLEN: Well, it seems to be a very interesting response. Just the sort of thing that you'd expect. SEBE CLOVIS: Well, if you mean by that that we should have been expecting some sort of retaliation. I don't agree. I think that we had to expect something after all as they say in Vampire Business "Old ain't dead." CHRIS: So you see it as some sort "pissing match" between a couple of old guys? SEBE: Not necessarily. I mean with the out-of-the-blue third part, i think that we had to expect something. And yet, you still have to wonder if this isn't some sort of "blow off" gesture to the whole thing. CHRIS: I'm not sure how to take that. I mean surely you don't think.... SEBE: First don't call me Shirley. No, i mean you have to wonder what was going on in the first place. So, lets go now to Glorb and company for a deconstruction of it. Ok? CHRIS: Sure, why no, Shoily ;) SEBE: Why me? Ok.. are we ready? END THIS PART COULD BE A PRE-PARED VID =================================================================== ....(cut to; Gleeba and Glorb on stage in front of a pale blue back drop / drop-cloth matching the one used as a scrim in front of the orchestra. later props will be brought in behind them; ie, a chalk board (see below), book case to the side, computer terminal to the other side, a writing desk, etc)... Glorb: Gleeba you ignorant slut! Geeba: Sheesh, they won't get it. Don't you realis that everything has to be in terms of Square Bomb Slerm Pantzer somthing? Glorb: Anyway, enough pastiche. Let's begin by looking at the cross product of everything in PART 2 - taken line-by-line and then apply that as either a measure or a demarkur as we then parse PART 1. Well first, let's look at this segment: (while Glorb is finishing the above, stage hands have wheeled a chalk board / projection screen / flip chart / etc onto stage with the folliwng on it:
Gleeba: I'd just like to start by saying - as a very dedicated applogist for Frank, that most of his stuff *does* make sense if you look at it long enough. Glorb: Well, or not. A lot of the time, he seems to be just playing with the "audience" - if you can call them that. Gleeba: Yes, but the plays are usually accompanied by smileys such as the wink [holds up placard with ;) on it] and such. Glorb: Yes, but first off what about the idea that he takes his audience for granted? Gleeba: Surely, you don't say that he's taking his audience as given and dolting do you? Glorb: No. I mean that's brought in PART 3 when gORAN says (looks down at paper/script and reads) Well, maybe FL should be more considerate when he is accessing people's email accounts with his e-mails, and maybe FL you might ask about permission from people to be engaged in this, hopefully soon, to be a blog. **** BEGIN ACTORS BLOCKING ONE ***** ...(Gleeba will interrupt here)... That blog could be further developed and divided into one of a more free style discussion, and also to have another areas of more strict lines of discourse. ..(the entire above last part may not be completed)... Gleeba: (starts interrupting above) Yes (prob almost like distracted-to-the-side-voice) (NOTE: i could see this as almost a fight about what should be almost a given as to the first part of PART 1 - but that Glorb and Gleeba "really get into it" ***** END ACTORS BLOCKING ONE **** (enters Ell, to the side s/h/he is dressed in a suit prob with a neck tie, etc - as if to be on TV style, etc) Ell: PLEASE! Look at yourselves!!! It's just TEXT!!! (they appear sheepish) Ell: Anyway if we look at the first 13 lines of PART 1, i think its at least a genuine disucssion given in good faith as to what the aesthetics of music ARE. Right? Gleeba: Don't look at me. I *like* the work. Glorb (under breath) no doubt; it suits your style. Ell: UHMM!! Glorb: (turning, only slightly acknowledging her/him/nem) Ok. Yes, the first few lines ARE co-herent. They discuss continuity and co-herence. Two of the things that are ALMOST ALWAYS LACKING! (the piano work here in the b/g should be "sarching for somethang" either almost moody or introspective) Movemtn I: Lento about 4:20 - 7:44 into) ...(Ell exits)... Gleeba: Well of course. you remember that scathing critque he got from his "menu portfolio". Glorb: (almost over) - Not again with the k-sky critique!!! Gleeba: THAT HE got from his M-E-N Y-O-U (slowly/forcefully) CRIH-TEE-KK! (hard 'k') I think that that's signifcant that he's at least acknowldeging his short comings here. Glorb: Acknowledging - yes. Ok. At least he's acknowleding it. But, then what's all of that gibberish about (almost sickly sweet) with musical form. Tradional music (eg, read Bach/Jazz here) has the concept of stated theme, then variations on it... Why does he throw in junk like bach and jazz - is that supposed to show how diverse his interests are? Do we really need to see his ego again!!!! Gleeba: Well first off: A lot of Jazz musicians say that more than any other classical composer, they admire Bach. Glorb: More BS ...(spells it, does NOT use "bull shit"; char note).... from der capel meister ..(kah-pehll m EYEz tuhr; v. german, again dripping with sarcasm/sweetness).. And then all of this obscure rubbish about Darius Milhaud and giving these absurd words like "pronunskiated" -- what's THAT all about??? Gleeba: (slaps front of her own face, drags fingers down slowly front of her face) (slightly garbled) why me? it's just part of his schticK about spelling. And the fact that he mentons Dariu's (pronounced: dar-ee) work and it's a specific reference is obviously meant to anchor it so that he can refer to it later. I think that he's not taking his audience for granted or trying to insult them - he's just mentioning an example of what he's talking about. Glorb: And of course then his swipe at the American legion ISN'T part of his liberal agenda, i suppose!! Gleeba: No, it's not. Charles Ives was an American insurance salesman who used his spare money to have his music performed. His "variations on America" - for WHAT EVER ELSE it is, is an an american work - sort of a "melting pot" work that uses various themes - yes, one of them sounds very Russian! - to bring together various ways that tonality, rhythm and such are used. There's NO hidden agenda. It's just a comment. Some people - apparently at the American Legion got upset and either did or tried to - BAN it. That' it. Glorb: Yeah. He just chose it at random. Gleeba: (soto, slightly) i wish he'd chosen Beethovan's variations... Glorb: What? What was that? Gleeba: Nothing. Glorb: Fine, be that way, what about the ...(searches papers)... let me find it ... yes, here, when he's saying: An infinity of time passed as inifnity does (as it does at about 3 minutes into Satie's "Ballet Realiste"). Finally (as it turned out, i had liver cancer... Gleeba: NO! Not at all. He had gotten a test for LIVER CANCER - you know he drinks a lot. And the TECHNICIAN couldn't read the results. Which is why he was afraid. And.. Glorb: YES. FINE. But what's all this about Very well, then we shall have a new opera. And Herr Mozart shall write it. And it shall be in German; there 'tis, then. Odd, how performance just "happens". Clearly that's some RUBBISH - he even admits it!! Gleeba: Yes. Yes. It's rubbish (sighs heavily) - i give up! He was talking about the film AMADEUS - he drank a lot too. He partied a lot TOO. Frank was woried about not only his liver but MAINLY AIDS -- AIDS YOU IDIOT!!!! Glorb: Fine. Be that way. I get it. Of course, i get it. My point is that he wasn't BEING (searches papers) (while searching) coherent...concise... uhhh... (still searching) uh, and lacking ... continuity... HERE: ..(sounds off stage to the LEFT of course, intrude the following, until there's a fairly large SLAM sound - but NOT like an explosion or some such over-the-top SFX !!)... Glorb: What was that? Gleeba: (as if resolved to wait for Godot for-ever) Our doom ? The end? A martian time slip, .... Glorb: Shut up. There's some one back stage.... ...(at this point, a derranged, half-naked and obviously drunk Frank wanders onto stage, blathering something. In his RIGHT hand (if the actor is RIGHT HANDED) he holds a half full / half empty bottle of booze - prob should use JACK DANIALS for this - best to consult a carbologist to work with the lighting person. In his OTHER hand (left if he's right handed - again the part of FRANK can be played by a woman, gay, nether, etc - all of my parts are "just" archetypes - just like me). in the OTHER hand are clumped papers (length-wise, folded but NOT crumpled) - art history notes, criticism, etc. ...Meanwhile the TEXT on the BLACK-BOARD / FLIP-CHART / SCRIM / ETC becomes
001: Part of the problem is the concepts of continuity and coherence that 002: are generally associated with the musical form. Traditional music 003: (eg, read Bach/Jazz here) has the concept of a stated theme, then 004: variations on it, and then a return and re-statement of the theme 00:5 and with a *flourish* an exit of the piece. An important example 00:6 is one of the bridging pieces of early 1900c French classical/jazzist 00:7 composers. Note especially the "study piece" by Darius Milhaud (pronunskaiated" 009: Dahr-ee Mee-you) called "The Bull of the Roof" (l'beuf sur la tois ?sp?). 010: Which takes us thru all of the "keys" of the work, and then returns to 011: the original theme. Similarly the oragan work by Charles Ives, 012: "Variations on America" - which was banned by the Foreign Legion: 013: Don't mess with the classics.
FRANK: (turns around and looks at the BLACK BOARD) I for one. What ostentaciousness! since i do NOT speak for anyone else well, who else would you speak for? (takes swig from bottle) (sloggers about) (strikes pose) ...(in Winston Churchill voice, which slowly disolves into a Mark Twain voice)... And we shall fight them in the air, We shall fight them on the land, We shall fight them on the sea. And we shall not, well, since i do NOT speak for anyone else ...(un-strikes pose, takes another swig from the bottle, sways slightly)... (mumbles slightly) would like to tell you that (drifts off) the generic claim we (pauses, then more suc-cintly) THE Gen-ehr-ik clay-mm (slight pause) (said all togehter, but not too rapidly) claim we artists (almost no pause between thes two lines) (almost soto, slower) claim we artists (slight pause, then slower, but a BIT more soto, almost whispered actually) claim .. we .. artists (pause, then - soto) claim (pause, then - louder slightly) we ( "" "" "" "" ) artists (nods head down - somber music; something like shosty #11, 2nd mvt about 8:42 - 10:59) WE ARTISTS. we artists.... NO SPOKEN WORDS FROM HERE UNTIL NOTICE BELOW - stage directions, etc (dips head down, swaying, spot light maybe on him, lights and b/g fade... he dips down onto his knees, head down, arms to the side - still clinging the bottle in r/l hand papers in the l/r hand) - music her is shostly #11,2nd movement (11:00 - 11:59 -- with the trumpets, then begins the next "scene"... during this minute of PLAY, he dips lower, and lower, and then about 1/2 way thru, the stage is re-set around him). and about 3/4 thru the minute, a stage hand comes takes the bottle out of his hand - with some slight force. at about 0:50 seconds the papers - more force, he falls back on his back - left for dead. during this minute (11:00 to 12:00) the props are brought on stage - the 7-11 store front, the writing tables, and cafe tables with chairs (REAR STAGE, STAGE LEFT - the STREET WASHER machine will cut in front of them) people sit down and take up papers to read, a waiter will come in and deliver food - they are totally in-consequential. The spacing must be enough for the naked girl and nazis to be able to run around without disturbing them, the dine-ers are not completely oblivious to this, but mostly so. A family of Armenians or Gypsies may be used with good affect of people who *almost* become invoved. 12:00 - the trumpet and drums.... THIS STARTS THE "dream sequence" (hardly that ;( the solo snare drum and heavy music (about 12:30) in comes nazi's chasing a naked girl across the stage, 12:57 - 14:04 in time with the music, she sways behind one group and/or prop on the stage esaping, but finally caught 14:25 - 14:40 -- pretty much at the time the STREET WASHER STARTS UP -- and dragged off stage - prob STAGE RIGHT. (this dragging - 14:40 and after, they are beating her as they drag her).... exunt at about 14:47 - before the drums begin. (they will re-enter after the gurney is lit; joining the hoods) NOTE: At about the time (13:??) that she appears to be going to get away, the gurney is brought in. Although visible, it is not yet lit. The paths of the girl running and the nazi's are cut off by the gurney - much to be done here. At about 13:23 (pos as late as 13:40) the SEVEN ELEVEN IS LIT UP -- the hoods start stabbing the old artist -- he tries to run, they counter 14:05 - WASHER ENTERS 14:16 -- sounds c/t the snare drums he/they are sprayed as the STEET WASHING MACHINE comes by - it is off to one side and does not intrude onto the set much. I'd say that it cuts in thru about the STAGE LEFT by 1/4 to 1/3 diagonally from STAGE FRONT to STAGE REAR. 14:40 - end of the 7-11 scene - but continues less lit. 14:55 the gurney is lit. the hoods and the nazi's turn and move directly toward the gurney. An old woman is brought in by the admitting nurse (clip board in hand, clicky-ball-point-pen). The old woman is placed on the bed by the head nurse Then: 15:37 - 16:05 the hoods/nazi's move aside for the senior nurse and techs who bring in plasma stands ekg/pulse equipment and begin hooking it up. the naked girl enters - now dressed and with a notebook, she is now Anne Frank - but the audience has no way of knowing this; she might be dressed as a nurse with uniform/hat/shoes - a quick change will be required (about 45 seconds or so). No real effort is made to the fact that it is her that just ran off stage. It may even be that she slips around to the other side of the stage and enters as the nurse comes in with the old woman, walking past the gurney, etc. She sits at the writing desk - ostensibly in the same "room" as the gurney, facing it - 3/4 facing the audience to STAGE RIGHT. Possibly a small lamp - but in the previous chase scene it should not be disturbed unless it can be worked into the "act" between her and the nazi's. AT 16:00 or so (the music becomes dreamy) the old woman shouts OLD WOMAN: 16:08 I HATE THIS!!! (she throws the baked potatoe so that it rolls out into front centre stage - but does not burst) during the rest of the time 16:10 - 17:?? the set is cleared, and only Frank remains (still on his back, passed out -- it is ELL as FRANK in the same pose as when FRANK was on stage - this is probably v. clear if the audience looks closely or not - much to be done) (time to stretch as appropriate) the original set is brought back in: Glorb, Gleeba The black board with light blue back-drop around 18:30 or so their voices come back up, the music begins to fade down. Frank (who is now played by ELL - dressed in the same suit as before, clothes NOT rumpled, etc) gets up, shakes himself off (or shakes off his stupour) and wanders off STAGE LEFT, as the music fades completely, voices come up) Frank (sighs, EXIT STAGE LEFT) ...(fade into).... GLEEBA: I still don't believe that you can get that out of the text!! I mean, granted that he's actually taking OTHER artists less seriously. If there's one thing that he ISN'T that's an ART SNOB. GLORB: Ha! How do you explain his essorteric language? (following sickly sweet and sarcastic) It's the same old ploy to keep us ignorant people who DON'T know what good art is out of picture. We taxpayers spend our hard earned money on these museums, and then THEY - the art intelligencia fill them with shlock that no one in their right mind would call art. I mean that one called "For Carl Andre" - which is just a pile of horse manure blown up to disgustingly large size, and painted blue!!!?? You call that art??? GLEEBA: You don't understand, when Lynda Benglis did that... GLORB: See! You actually know who made it!!! GLEEBA: Yes, but what she was trying to say was... GLORB: Say it's all a load of... ...(Ell enters)... ELL: Ahem. ...(Ell takes an empty seat, back to audience, in front of Glorb and Gleeba)... GLORB: Well, here s/h/ne is. Now we can hear it from the horse's own mouth! So, what do you say about you being finally exposed as a fraud!!!?? ELL: What? Fraud about what? GLORB: Right here (reads from paper) Are you an artist? Think about it. The claim to be an artist is appealing as it is dangerous. (skipping mumbles) or not; others are not. No, wait, ... here it is: deserves respect. It is a high goal, and it implies that you will work hard for making it happen, provided that your talent - yes, the T word cannot be avoided! will help in the process! Talent! your talent! ELL: Fine, i'm not an artist. it's all a big put on. Can i go now? I have a really bad head ache. GLORB: Hung over no doubt! ELL: Yeah right. No, just didn't sleep very well last night. Horrible night mare... GLORB: Well, imagin.. GLEEBA: Can it! So, what was the night mare about? ELL (sits bolt up right) uhh. nothing. just weird.. nothing. GLORB: Oh, yes tell us what your artistic dream was about. ELL: No, it's nothing. GLEEBA: Do you want some water (turns to pick up pitcher) ELL: Yes, thank you. GLORB: So, we're all waiting. What was your "night mare" about? Come on. Out with it. Or should i use a word like that with you? ELL: (a bit miffed) OK. It was about a potato. Or actually, a potatoe - with an 'e'. GLORB: Not again. ELL (gets up) walks over to GLORB face-to-face) (slowly becomes increasingly un-hinged -- Sofia Gubaidulina's "Offertorium - 7:55 to about 19:30 or so) with increasing volume - or of course "Threnondy" by Viktor) ) An old woman, who i knew. An artist. Or was she too a fake? You'll never know. And then all they did is let her die!!! I was the one that got her good food! They gave her junk to eat. But, that didn't kill her. I was the one that got them to give her a KOSHER meal. GLORB (getting anxious) well that was good.. ELL - go ahead. Ask me if she was Jewish. GLORB (humouring a madman, slightly) So, was she... ELL - A JEW??!!! WAS SHE A JEW? AM I??? I mean it was a kosher meal. After all, you want to know don't you!!! You have to know!! And the potatoe - yes with an E it wasn't kosher - it might have been, but they cooked it in a micro-wave oven -- only takes TEN MINUTES just TEN MINUTES (and then soto) in the oven it takes longer.. GLORB (starting to panic) Get away from me. Another of your absurd stunts. You're just a crazy drunk! ELL - YES. THAT'S IT - that's all i am. just a crazy drunk and the bit about being an artist - it's all fake every bit of it. why we all know i can't even draw!!! ...(louder)... But then when they caught her, they cut her tongue out to keep her from shouting... (shouting slightly) BET YOU DIDN'T KNOW that (hard T).. GLORB: Help!! (cowering down) ELL: (suddenly theatric, calm) yes. that's right. Help the purpose of my art is to help people to understand the world around them. To bring beauties to them, but when necessary to wake them up and realise how much into the matrix they are. Not that it helps much. (starts to exit; stage left natch) Nothing can help you. After all, i'm just a crazy artist - and not much of one at that. After all: "He can't draw." (strikes pose) Peace. Take care. Exit, stage left. (exits stage left) --42-- PASTE REVIEWS/COMMENTS HERE --30--
001: I for one, since I do NOT speak for anyone else, 002: would like to tell you that the generic claim 003: *we artists" deserve to be uttered with some modesty. 004: 005: Nobody is more of an artist than you are already 006: acknowledged as such. 007: 008: Are you an artist? 009: 010: Think about it. 011: 012: The claim to be an artist is appealing as it is dangerous.