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I.C. Notebooks 1
1971-12-10 ""The Metaphor of the Actor Gaining the Right to Speak""
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outside the museum. The literary device of framing is itself the narrative, a reduced reflection of the original, reappraised and with intensified focus. The accompanying text, a long list of animal sounds, is handed to the audience members in a printed program. It reads, in part ...quack, cackle, gaggle, guggle; gobble, gabble, cluck, clack, crow; grunt, gruntle, snort; pipe, pule, blatter, chatter, sing chirp, chirrup, cheep, tweet, twitter, chuckle, chir, whir, coo, caw, croak, crunk; hoot, honk, boom; grate, chirk, crick; stridulate, squeak... December 10, 1971; 8 PM The Metaphor of the Actor Gaining the Right to Speak is the piece most activated by silence. The title focuses on the physical presence of a "body" as it is moved onto the stage, indefinitely delaying the need for an accompanying text. "As a property of the work of art itself, silence can exist only in a cooked or a nonliteral sense....Instead of raw or achieved silence, one finds various moves in the direction of an ever receding horizon of silence - moves which, by definition, can never be fully consummated." Susan Sontag, The Aesthetics of Silence This boulder, which reflects the Artaud-inspired physicality of the nearly mute actors of the Iowa Theatre Lab, creates a stage presence by the enormity of its weight. Studio theatre, an aging wooden structure, serves as the sounding board for its thud and vibration. The granite boulder, referred to in geological terms as a 'glacial erratic,' had been shaped by its journey from northern Minnesota to the Iowa City vicinity two and half million years earlier. Frozen and flowing water and the interaction of its fellow erratics were the elemental forces that had propelled it on its journey. "Stones - particularly hard stones - go on talking to those who wish to hear them." Breton 150
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outside the museum. The literary device of framing is itself the narrative, a reduced reflection of the original, reappraised and with intensified focus. The accompanying text, a long list of animal sounds, is handed to the audience members in a printed program. It reads, in part ...quack, cackle, gaggle, guggle; gobble, gabble, cluck, clack, crow; grunt, gruntle, snort; pipe, pule, blatter, chatter, sing chirp, chirrup, cheep, tweet, twitter, chuckle, chir, whir, coo, caw, croak, crunk; hoot, honk, boom; grate, chirk, crick; stridulate, squeak... December 10, 1971; 8 PM The Metaphor of the Actor Gaining the Right to Speak is the piece most activated by silence. The title focuses on the physical presence of a "body" as it is moved onto the stage, indefinitely delaying the need for an accompanying text. "As a property of the work of art itself, silence can exist only in a cooked or a nonliteral sense....Instead of raw or achieved silence, one finds various moves in the direction of an ever receding horizon of silence - moves which, by definition, can never be fully consummated." Susan Sontag, The Aesthetics of Silence This boulder, which reflects the Artaud-inspired physicality of the nearly mute actors of the Iowa Theatre Lab, creates a stage presence by the enormity of its weight. Studio theatre, an aging wooden structure, serves as the sounding board for its thud and vibration. The granite boulder, referred to in geological terms as a 'glacial erratic,' had been shaped by its journey from northern Minnesota to the Iowa City vicinity two and half million years earlier. Frozen and flowing water and the interaction of its fellow erratics were the elemental forces that had propelled it on its journey. "Stones - particularly hard stones - go on talking to those who wish to hear them." Breton 150
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