sharing rhythm creates a political question about who determines rhythm and when trio in unison, with the possibility of becoming either backup dancers or soloists open-ended and absurdist and nonsensical shame as part of gaze
The lectures are written for a course that is never taught because the discipline in which it might be delivered does not yet exist.
Duse’s superpower: her capacity to disappear, leaving only her plaster hands as evidence that she was a material presence in the world. Disappearance. Reproduction. She knew the theatrical drill.
When you leave you leave the windows open and the doors and because the house sits by the sea by first light a film of sand gilds the floorboards and the kitchen chairs
Actors do their best to blend in to the faceless glass city. They get desk jobs, they settle down, they raise families. None of it is real.
In the end there is not nothing. In the end there is endless everything.
What if the world is a room; what if the room is as large as the world?
Is it any different from anyone else? Is anyone even listening? The musician doesn’t know.
The auteur at the heart of her text yearns to close the gap between the art object and herself, the art star. At least, she wants the appearance of having forsaken aesthetic detachment. And we’re with her.