Wish-full thinking. It contains a wish, a hope, a possibility, a thought experiment, a fantasy, a “what if…”, the potential of the performance to enact change – political or social change, maybe, or a change in the energy of the room, or a psychological change, momentary or lasting, in the spectator.
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.
Can we compose a performance that sails to you across a virtual arc, like these words, with the harp vibration of a telegraph, and no risk of contagion? How do we shrink this microscopic stage?
After almost three weeks of “sheltering in place,” I noticed that an entire layer of language has been sliced off from my life. The texture of language consists not only of words, but of touches, gestures, bodily postures, smells, ambiance, and even the weather.
I’m a playwright by trade, and like Wainwrights and Shipwrights, in this modern world Playwrights are pretty useless. It is a dying art. Seriously disrupted.