Edited by George R.
Tuning In Repeat Forever: Peter Handke New American Performance: Index Theatre Shirtologie!: A long commitment not to notice certain boundaries—especially those around performance and life—has been generative for Forced Entertainment.
Ranging from the claustrophobic terror of Club of No Regrets, to the obsessive confessions of Speak Bitterness, Forced Entertainment has produced a remarkable body of work that pulses with the blood of different genres, aesthetic categories, and political-philosophical dares.
Etchells the writer for the stage should not be confused with Etchells the writer for the page. While the two share many preoccupations and predilections, the man of the theatre has dedicated himself to the task of asking collective questions in the company, while the writer for the page indulges in that alluring cowardice writing offers all who romance it— staking claims.
Such truths, Etchells reminds us, can rarely be separated from the fictional; witnessing a shooting on the street is framed by our many rehearsals of witnessing shootings in the cinema, on the television news, and indeed, in theatre itself.
Performance employs the concept and experience of the live event as a way to rehearse our obligations to the scenes we witness in realms usually labeled the representational or the mediated. Like the Chicagobased performance group, Goat Island, the New York-based group, The Five Lesbian Brothers, and the Barcelona-based company, La Fura, Forced Entertainment suggests that performance might be an arena in which to investigate a new political ethics in the dying days of this century.
For as we attempt to understand the violently repetitive genocides of the twentieth century, we come face to face with the challenge of witnessing traumas whose sources are both psychically and politically unbearable.
The trauma that has been the consistent political performance of this century has proven to be extraordinarily resistant to the logic of the empirical. While The Wooster Group, under the fierce direction of Elizabeth LeCompte, has been intent on deconstructing dramatic and usually, but not always, North American classics that animate theatre history, more recently formed companies have been interested in creating new texts and movement performances that obscure the distinction between fact and fiction, truth and dream.
The investigations of contemporary performance companies are significant because they demonstrate that performance art, despite its difficult relation to documentation, tradition, and transmission of bodily knowledge, does have an ongoing history.
More precisely, these contemporary companies have adapted the conventions of influential avantgarde theatre collectives in order to create performance art, a term that is too frequently associated exclusively with solo work.
Some teach; some travel; some make houses; some perform solo; some make sentences; some sew.
From medieval morality plays, to the Forum performances of Augusto Boal—to say nothing of the achievements of Brecht, Artaud, Beckett, Churchill, to name only a few European canonical authors of this century—some important western theatre has been dedicated to making explicit links between theatrical arts and social politics.
Some theatre makers have left the link implicit; some have tried, unsuccessfully, to ignore it. Reflecting on these performances in a piece entitled, A Decade of Forced Entertainment, Claire Marshall speaks of the strange ways in which affective history seeps across material space, forming geological-like layers which might be termed: They drew a map of the country [England] and marked on it the events of the last ten years—the sites of political and industrial conflict, the ecological disasters, the show-biz marriages and celebrity divorces.
On this map the Challenger Space Shuttle had blown up in Manchester in The siege of the Russian Parliament Building in had taken place in Liverpool. Mapping space and time in this manner transforms history and travel into an actively composed set of personal stories and not a passively experienced set of external events and locations.
This reading-machine is both technological and affective, both collective and personal. Repeat Forever, like a net flung and floating across two continents, three generations, and the slippery divide between life and death, attempts to capture both the empirical and affective force of death for witnessing bodies that are at once vital and mortal.
An exemplary illustration of the strengths of performative writing, Repeat Forever, underlines the connection between the live and the mediated, the fusion that allows a mechanical pump to keep our otherwise irregular hearts beating. Etchells asks you, dear reader, to become a witness to events that you may encounter only here on the pages of this book.
Inserted within the transcript are quotations from performances Vawter did with The Wooster Group and as a solo performer. Witnessing allows the dead, the disappeared, the lost, to continue to live as we rediscover their force in our ongoing present.
His critical reviews of other artists are snapshots of this practice. For one ought to summon a witness only when one actually needs one; one wants to respond only to genuine calls.
But compassion is not necessarily ethical and pain voluntarily endured is a different act than, say, torture.plombier-nemours.com phone number Still, the move is surprising in some ways, given thatVivendi has talked up its media assets as the company’s futureafter it failed at the outset of its strategic review last yearto sell its 61 percent stake in Activision, its largest and mostprofitable media business.
Feb 25, · The reactions of the child are attributed to its “tuh”: if it is crying too much or if its health is uncertain, it means that its “tuh” wants to leave the world of the living and go back across the rivers, where it came from.
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create a detour around the blocked portion of a blood vessel in the heart. A patient may require one. two. three or . Also included is an isolated music and effects audio track. New to this release is a video interview with critic and author Kim Newman. As always, Newman provides many important insights into the production, a look at the written works of Jules Verne and the subsequent adaptations of his stories to the screen.
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