Charles, our musician, amplifies the growls and squeaks he
hears from the dancers, from all of us, in the room.
This carries personal resonance.
I wonder at when I have been mauled by a critic, undercut by an administrator. What are those screams. What if I could amplify their sounds, as Charles does, play out the emotions behind their words?
I wonder at when I have been mauled by a critic, undercut by an administrator. What are those screams. What if I could amplify their sounds, as Charles does, play out the emotions behind their words?
This would be 'drama therapy', in a way, but more cut to the
chase. What are they really expressing, perhaps the chasm that opens in their
world in contemplating something new: a primal scream that just roars for its
own sake; that roars and screams because something is shifting, something is
new, receiving information that it does not know what to do with yet, or,
feeling the new and being shifted and then screaming because of it.
Who breathes this process, who in our lives, which
bureaucrats do and don’t, which Commissioner or funding body. Artaud would
have nailed it: sighs and screams. Being pushed, nudged, re-minded,
re-considered.
The problem is, how to deal with the supposed power such people hold. The scream of their authority. What do I do with
this. Do I have to sit on my hands, soften my words, dumb down…or, just wait,
until the screams subside.
c. Z Soboslay 2015.
c. Z Soboslay 2015.
I remembered Artaud - and wondered - does the scream capture the gap he was so worried about - the gap between thought and articulation?
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