Radical Empathy

From the corner of my eye, I notice Colleen making the moves to go, while DL is getting to the more interesting connections between Simone and the Doing of Things.

Blasted comes up–David knows the angle to play, to the other “teacher” here, the BlueShirtWoman…He talks about the Weils riding the bus w/o socks (they did leave their shoes on). Do you guys now about Blasted?

JK talks about Blasted, so the theater students can follow.  The switch from a Classical Style to a literalism, as HH Munro would call it, the Schartz-Metterklune Method. Ultra-realism. We can’t stage a Blasted scene here–you can only do it when there is a proscenium, a border of unreality to stage the reality reality. Sarah Kane started to write this violent obscene-scene after tv…

After watching Bosnia on tv? Is vomiting in response as good as giving money? We all must witness what has happened on earth: to turn away is a moral and also an aesthetic failure. Arthaud, Blasted, Kushner. Levels, degrees of poitical theater: different realtionships to bodies and seats!

Bodies and seats. The way I am going to make you learn is by fucking you up, or guiding you quietly, or…?

Or is it about the author’s psychology, offers Kara, which leads us back into an interior space.

In part it depends on the times; casting can be political, too. That any number of things can be politicized.

It is significant that J speaks this. No one comments on this–though he seems to be inviting it.

“I don’t enjoy Sarah Kane.” The difference between radicalization and alienation: we are back to this old argument. Do we really want to activate the citizenry?

Do we?

Are we really back here again?

Am I going to be okay getting down the ladder? Am I drunk? Beer: half gone. On table: beers almost all gone. Lubricant, indeed.

Weil is trying to experience it as REAL-ly as possible.

I should have eaten more than rice crackers…and Colleen is gone from the table! That means this is about to end! Just as we are getting interested!

DL discusses the concept of radical empathy as transcending statehood, and entering into the space of the personal and mystical.

The impact of theater, says MW, Bodies and Seats…the most effective political theater has a certain opacity and poetry. It is about transmitting something beyond distraction, placations, and opiates. Angels in America reached people–that is a political thing.

(How aware am I that all this is going, all this great discussion—and DL has engineered the next level of hierarchy to be sprung upon us. There is Colleen, gearing up for our pleasure, and his–for Art. For the dictates of a form which require a performance to END. The director can encourage us to interrogate the form, to defy it, but he also must enforce its formal properties–he knows it must end, and mush as he shows even his mother to her seat in a courtly way, so he too is seeing us home, to the end of our evening, in a courtly way. Whether anyone is aware ofi t or not, we are being lead just when we most feel we are free to discuss ).

The film Milk vs. the documentary comes up

–you are talking about budget, speaks the Lady Poet. You love Milk. I can’t believe the movie is better than the documentary…despite the fact that it is a confection, a budgetary confection.


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