Cartas Despedidas
Haciendo un recuento de mi vida Mi única falta de gravedad Es no confiar más en ti
Haciendo un recuento de mi vida Mi única falta de gravedad Es no confiar más en ti
I do not imagine a theater, because I live theater, breathe it in and out; I dream it. But, if I had to imagine a theater, then I'd like to imagine that the languages that have been forgotten, which are still spoken in many parts of the world, would be part of this new playwriting.
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
They will surely become aware of the powers inherent in other generations, that the children and the elderly possess the wisdom of resurrection in our time.
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.
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
"In Teheran I can drive until the foot of the mountain
If I won’t say it, at least I wear the marks of what I won’t reveal.
The mics across his body amplify every breath, rustle, or shift in position. The audience can barely see him, but his body extends to their ears. It's intensely intimate with no space between us – just a shared sound-filled presence.