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Monday, 06 October 2008 Body of words, body of text. The dramatist writes with regard to
his words as fleshed in space, not inked on paper, which opens the play of
physical signifiers and signifieds in language and in the performing body.
He speaks tyrant and victim, beggar and emperor, woman and man, which he
finds within himself. He unleashes the possibilities of flesh and its
representations, all of its organs and sensations free for the exchange
with those of an auditor in the dark. Flesh, blood, hand, eye, phallus,
womb: the physical evidences of gender and engendering themselves freed
for imagination. They are traded and exchanged through the writing body,
the speaking body, the hearing and watching body, representations caught,
caressed and tossed back again. Symbology made flesh. Words that
penetrate, and welcome penetration, and exchange visions, world
constructs, perceiving selves and ecstasy. (This is far beyond youth,
chronological and psychological, especially beyond the blind adolescent
self- The highest artifice, the disciplined theatre. Torturous distance separating physical selves. But not for that reason any the less real, indeed far from surreal (especially the closed surreality of the deadly, final interpretation of a dream, which the art of theatre most assuredly rejects), perhaps more real for their attempted expression ... |