GIOVANNA, The Modern Woman Mariposita
Written by Gary Brackett
Translation by Gary Brackett, Virginia and Deborah Siriu Mattielo
Note to John: Where are we going.
If we want a theater of poetry, direct and immediate as music, at any time during the show should be full of a certain poetry of the "real" awareness del tempo, della relazione spaziale, dei contrasti, degli enigmi, delle domande, dei problemi, dei dilemmi e degli affanni del volo dell’immaginazione; una suspense creata dalla tensione fra le attrici; fra le attrici e lo spettatore (testimone); fra l’attrice e se stessa, il suo respiro, corpo, mente e l’intensità della concentrazione; una virtuale crisi dell’“adesso”.
Vogliamo costruire uno spettacolo come una scultura, tagliando via il superfluo per realizzare il dramma essenziale: dal primo “beat” (momento) vogliamo sentire la Giovanna storica e la sua presenza come Amazzone: la sua incarnazione, corpo presente.
Non racconteremo il dramma storico, but she will be among us, redeemed. How? A commitment to the moment balenante, allusive, elusive - the smallest and most intense fragment of "time": the body / soul of women, oppressed at the same time deliver, instantly, their liberation from the yoke of history. Presence of the actress as a challenge: Artaud. As a victim, which sends signals through the flames, and sacred priestess. Still, Artaud. Each breath should be made present: the awareness of each breath as he moves his body, his thoughts, his intentions, is the breath that directs the choreography of the action and feelings. Every breath is a sign, a spiral step of the journey of a testimony of struggle and discovery (s-blanket).
There will be a "story", a "story", a "plot"? Yes, but like a jigsaw puzzle of perception and illusion, confusion of reality between prison and mental hospital, all imagined by a woman "crazy", who believe that their experience will be consumed as a product of an economy to come that makes human experience products for sale. "Schizophrenics" we have met often describe this feeling that their thoughts have been registered stolen. But this future is becoming more possible with the advancement of technology in virtual reality and with sensors implanted in the brain and body with machines "nana" who will work for change at the cellular level, hormones and temperature control, regulate bodily functions and consciousness.
But there must be something more real than fiction, hyper-reality, stepped up and made the meeting of perceptions: exploring the politics of gender (first division) and its solid presence in the meeting; text and image of the violence inherent in the colonization of the female body, feelings, thoughts and perceptions of the exchange of ideas between actresses and the audience, time and bodies. The bodies become the measure of 'experience is becoming a reality. You can move towards a kind of "group meeting" in which it is compared to "the fundamental antagonism and the fundamental attraction between you and me" (Julian Beck): male and female, female and female.
will compare the experience and the movement as a serpentine flow of moments, we will compare our desires, our desires unsatisfied (the residual taste of paradise, for example), or simply our desires, needs and desires as consumers, (links to a culture that cultivates the death). We want a place of experience, thoughts, perception and feeling. A laboratory that also uses art, poetry, music, space: total theater, sacred theater.
There is another aspect to be explored: the madman is the language; how they are related conduct, in the realm of poetry and politics as exemplified by Valerie Solanas and her SCUM Manifesto. She was called "mad" (mad furious and sick), but pushed to the extreme limits of language and performance, as in the surrealist movement, but extending even to life poetry real political action poetry. Valerie Solanas was the historical figure who shot Andy Warhol in 1968, intending to cross the line between performance and political act. He has acted in its radical feminist anger. To be "mad" is not just being angry, the word implies the idea of \u200b\u200bdisease: Women who are "mad" they are locked in mental hospitals or prison, depending on how or what they are accused (for example with the "syndrome battered wife").
The Joan that we see could be considered autistic, a "schizo" who lives in another reality outside the boundaries of language and perception of time shared. She is the Buddha who meditates in the world - the Mariposita (never rests) - and even if we find situations where raped, exploited, arrested or in which a hero on the barricades of the revolution of women, she remains intact; not visible in a sense, unknowable because it exists in a "moment" beyond what words like past, present and future can be achieved. Still, his special kind of presence challenges all our assumptions of gender, desire, need and being. Another way to explain how is it possible that modern man does not see the female body as an object? Somehow Joanne upsets "this infuriates the other in order to push the man to begin to see their process of being, that as man, grew up in the patriarchal culture and has taken advantage of: he has received but also suffered in isolation that this attitude has produced.
Joan brings his forty days and forty nights out from under the tree, out of the desert, and is among us, riflettendo noi stessi, ma non nelle finzioni che creiamo negli specchi di casa, le nostre storie, difetti, vanità inventate. Il suo riflettere strappa via il velo per rivelare la nostra falsità e i bisogni del nostro ego e ci permette anche di scoprire (s-coprire) la nostra divinità e la nostra malvagità, la nostra tragedia e speranza, la nostra tristezza e gioia, la nostra morte che passa davanti al riflesso dei nostri occhi e la vita che lotta contro la morte. Porta come un terrore di onestà e sincerità. Ella è terrificante: noi diventiamo pieni di timore reverenziale.
Come possiamo fare tutto questo? Come può l’attrice rappresentare questo essere terrificante? Sperimentiamo con il linguaggio, il text, narration, testimony, and the staging and the meeting between the actress and the spectator / participant. Maybe it starts as a "theory" as theater: render visible even as an event of fiction. But then maybe the "double" happens and it gets a little 'more real.
Anti-prologue
From slave to heroin: The Farfallina
The actress found each in their own cell movements slow and minimal.
(Staging alternative)
A series of activities almost-dance, tableaux and images, with Joan as a victim but "Brechtian" in her performance: Effects "Alienation", interruptions, silences, text on signs, actions, rhythms alternate with tableaux, some "tips and tricks" to maintain the suspense and the use of sequences as dreams and personalities of the contemporary world.
L 'Uomo overlooking leads to acts of rejection and resistance, and finally we see the activism of heroin, as, for example, white hands on the streets of the protesters in Genoa.
Voice: Violence against women permeates all societies. In all parts of the world, at least one in every three women has been beaten, forced into sex or abused in any way-usually by someone she knows, including her husband or another male family, one woman four has been abused during pregnancy. More women die every day from various forms of discrimination based on gender, which outnumber all other types of human rights abuses.
Giovanna: Its future is under construction. It is already there, ready to emerge.
Item: At least 60 million girls are believed to be alive are "missing" from various populations have disappeared, killed by their own families either deliberately or through negligence, because of their gender, such as selective abortion.
Joan: You mean that your life and your death are there, in their place, just waiting for you to keep appointments.
Voice: The causes of honor killings are rising everywhere. Worldwide, about 5000 women and girls every year are murdered at the hands of members of their families, most of the right to "dishonor" generally caused by the rape perpetrated by one of their family or relatives - a stabbing, a stoning, a strangulation or death by fire, it happens every two hours.
Joan: Do not touch it. I clean it later.
Item: One in four women are victims of rape or attempted rape during her lifetime. Every two minutes a woman is raped somewhere in the United States: an official investigation said that the United States a woman is beaten every fifteen seconds and 700,000 are raped every year.
Joan: Is there something you know nothing.
Voice: In every historical period, usually women and girls were routinely assaulted and raped in the war. Recently, with "ethnic cleansing" and because of the change in the conduct of the conflicts that directly involve more civilians, women and children have become more vulnerable.
rape, forced pregnancy and sexual torture are now classified as war crimes and crimes against humanity. At least 20,000 women were raped during the war in 'ex-Yugoslavia in 1992.
Joan: Nothing seemed strange to her, or surprising or inspiring, compared to the terrible noise and the fact of the matter, the stain, which was stifling the shock of his life here.
Item: It 's estimated that four million women and girls are bought and sold worldwide, through marriage, prostitution or slavery. Many are attracted into the hands of traffickers by promises of work. Their prices are fixed according to their age, beauty and virginity. The trafficking of women leads to criminal organizations worldwide billion-an amount that equals their profits taken from the drugs and weapons. Two million girls' age between 5 and 15 years are introduced in the sex trade every year. 1.2 million children are involved in prostitution.
Joan: She was just as he was out of the comfortable rocking motion of either / or.
Voice: About 500,000 women come each year in the transport market in Europe west. Traffickers often use their children for blackmail. In Europe, the behavior of police towards victims of trafficking, is that women are reluctant to seek their help. E 'was discovered that police officers cooperate with the traffickers.
Joan: How many myths we have created our experience of time.
Voice: There are 25,000 foreign prostitutes in Italy. More than 8,000 Albanian girls are prostituted in Italy and more than 30% are under 18 years. The main reason for what is the difference between economic rich countries and poverty in Albania. These women are forced to live in conditions equivalent to slavery. Are forced to have sexual encounters with many "customers" every day. They have no right to negotiate the price or performance of these meetings and can "take barrel" if they refuse.
Joan: Do not touch me ..... ...... I clean it later.
Item: It is assumed that 130 million women have undergone genital mutilation, and over two million are at risk each year. Genital mutilation is the partial or total removal of the external genitalia. The practice is intended to limit sexual pleasure. It 's very painful, is often done without anesthesia, and can cause infections, infertility or death.
Joan: Something is going on. E 'success. Happen. Happen. This is believed.
Voice: What part of your body do you love? Everyone should love what you see when you look in the mirror. But, advertisers, Hollywood, the fashion industry, diets and cosmetic convince us that no part of our body is acceptable. The spots of the print and television advertising reduces us to mere parts of the body, lips, legs, breasts, which are designed with an airbrush and touched up to meet impossible standards.
Joan: There's a story, a stream of consciousness e possibilità. Il futuro sorge dall'essere.
Voce: Per decadi, Hollywood e l'industria della moda ha promosso la pillola per la dieta, creando un business di molti miliardi di dollari. Il nuovo millennio dice alle donne e alle adolescenti che la plastica facciale, gli innesti di seni e la liposuzione fanno bene alla stima di sé. Allora, non è una sorpresa che più dell’ 80% delle ragazze di 10 anni sono sotto l'influenza di qualsiasi forma di moda dietetica e la maggior parte di queste ragazze, quando avrà 14 anni, userà il tabacco come aiuto per la dieta.
Giovanna: Ma non per lei.
Voce: Uno dei più comuni temi pubblicitari è che il fumo è un passaporto e un simbolo for independence and success of the modern woman. The tobacco industry has developed the means to lure attractive to teenage girls. Using women's magazines to sell cigarettes by linking through advertising of tobacco use to fashion, beauty and slenderness.
In 1999, the company Phillip Morris has launched a campaign of $ 40 million targeting particularly adolescent girls and women of color with the slogan "Be yourself!" The implicit message was that tobacco use is linked to women's freedom, emancipation and empowerment.
Every year, about 1,825,000 women, 5000 a day, one every 17 seconds killed by tobacco.
clothes with the brands of companies of cigarettes and other gifts and accessories are used to promote tobacco use for women and girls.
Joan: She has not learned the language.
Voice: The fashion industry, another example of subtle and lucrative of the colonization of the female body, all over the world, exploiting the workers. It classifies the job as "work for women", before staff are paid a lower wage because it is made by women.
In other words, they are paid less, not the type of work they do, but because they are women. These women are usually young people work in dangerous conditions for extremely low wages, producing goods for the First World while their human rights are violated by governments and industries simultaneously.
More and more, work less expensive is the work of children. These young women and girls work six or seven days a week from ten to fifteen hours a day, but do not earn enough to make meals satisfying, so many are malnourished.
Joan: There must be an imaginary point, a place out of existence, where our language intersects with our perceptions of time and space, and she is a stranger, without words, and connections, at this junction.
Item: Today, more women than ever are seeking help from psychiatric and are entering hospitals. Therapists, the police are soft in the dominant culture. When women complain harassment and sex discrimination are sometimes sent by the therapist and diagnosed matte. In psychiatric hospitals the use of massive dose of drugs, electroshock therapy and insulin coma is a habitual thing, often before the patients are visited by a psychiatrist.
Joan: The time unfolds in the seams of being. You through creating and forming.
Voice: Psychotherapists traditionally ignores the objective fact of female oppression. How common is sexual exploitation between therapist and patient? The survey shows that about 15% of professionals have admitted sexual involvement with their customers. But some researchers believe that the present incidence possa essere superiore.
La situazione cambia il conferimento del potere. Non ci sono ancora vittime.
Il rito della "madness" (pazza furiosa)
Giovanna: Forse le donne arrabbiate e piangenti nei manicomi sono le Amazzoni ritornate sulla Terra tanti secoli più tardi, ciascuna conducendo una ricerca personale, ricordata a metà, per la propria Madre-patria -una ricerca che chiamiamo Follia. O forse loro sono Dee-Madri fallite, eternamente Demetre e miseramente inabili a trovare le loro figlie o i loro poteri.
Coro: Qui mi siedo -matta da legare -con niente da fare tranne che diventare più matta e ancora più matta o se no recuperare abbastanza della mia sanità mentale perché mi permettano to return to the life that made me mad.
Joan: But if you are her.
I.
Prologue: ecstasy
There are several mobile platforms in space that can be moved depending on the needs of the show.
Joan is at the center, motionless but present.
She embodies the Joan of history.
The public is willing and divided the area, surrounded by songs and dances, male and female, "the other".
The first division: gender.
voices intertwine as the actions of the actress. Each one becomes "Jane" for a while. Dance of ecstasy.
Title: (Titles are projected, said, or on cards)
women's prison. 4:48 in the morning
Giovanna: The there is come to me. I'm with now. I will leave now. Chair, table, wall, corridor, all for the moment in time. E 'come to me. Here and near. From the moment I left, gone, I'm going, I will leave the moment by moment.
Chorus:
I came to you hoping to be healed.
You are my doctor, my savior, my judge Almighty, my priestess
My Goddess, the surgeon of my soul.
And I'm the proselyte of your wisdom.
I came to you
to realize aspirations and ambitions
to overcome obstacles and reach the top
to increase self-esteem through positive use of the talent
to neutralize the opposition
to exert control and influence over others
to protect myself
to defend my psychological space
to affirm the self (ego)
for attention
to be seen and heard
to excite, amaze, fascinate, shocked, intrigue, delight, entertain or entice others
to be free from social restrictions
to resist coercion and duress
to be independent and act according to desire
to challenge convention
to avoid pain
to undo the shame
to deny the humiliation of the past in taking action
to maintain self-respect
to quell the fear
to overcome the weakness
to belong
to be accepted
to approach and to share joyfully to each other
to converse in a friendly way, to tell stories,
to share feelings, ideas, secrets
to communicate, to speak
to laugh and make jokes
to win the affection of the beloved Other
to stay and remain faithful to the Other
to enjoy sensual experiences with the other chosen
to feed, help, protect, comfort, comfort, support, care or cure
to be fed, helped, protected, comforted, consoled, supported, cared for and cured
create a relationship with the Other
which is mutually enjoyable, sustainable, cooperative, like to be forgiven
to be loved and to be free.
Voice: I did not know how to call this. Call it singing. She let him continue for a while, going, coming, it was a song, it was a chant.
Giovanna and chorus: Coming and going I'm leaving: I will come and leave. The departure came at me. All of us, we will all, we will all be left behind. Why am I here
e. .. where.
And I will go or not go or I'll never go. And I saw what I see. If you are where I am. Why
nothing between me.
Several items:
I was laughing but she did not. E 'come out of her constantly and was not a speech schizophrenic or the cry of the oscillating body shaken by God was watching.
was a song pure, clear, or he was telling me something?. I felt a thrill that made me feel good. I was probably saying it is to be like her, living in his body and his mind?
I tried to listen but I can not. The words run, winding, empty, and I wanted her to laugh with me, follow me out of me. The point is this, this is the confusion on the true wonder.
At most there is terror, afraid to believe, a certain shift himself, but this is the point, this is the spark of ecstasy, the old sense of the word, your eyes are overturned.
Choir singing
She explodes in front of the woman
have one and only,
grabbed my heart,
ecstasy exhales
advancing the Rapture absolute
are unperturbed
But I cosmic perceptions
gush in my blood
Visions tremendous forge my soul
am as I am
explodes in front of you!
II.
The prison and the market
The platforms are moved to a center, a left and a right.
Some actress is in the audience. All are dressed as
prisoners.
Dialogo sul valore del mercato dell'esperienza elettromagnetica.
Il soggetto (o soggetti) è presentato: collegata alle macchine. Cavi connettono due personaggi al suo corpo: "input" e "output". Ci sono guardiani. Si sente una continua litania di prezzi e di titoli, che sembra corrispondere alle azioni e alla dinamica della triade dei corpi. C'è un crescendo di attività e tensione.
I guardiani iniziano a preoccuparsi . I battiti del cuore, il respiro e la tensione corporale di Giovanna determina e risponde alla crescita o alla decrescita della velocità e dinamica della scena.
Dai due lati del pubblico si sente la voce del coro.
Coro di numeri (da borse internazioni) e salmodia:
o dedi
orzoura
or dada or dada a dou Zoura
Skizo
or kaya kaya
or pontoura
or ponoura
hardly ask
munity ghi
regheghi
geghena
and Reghena
to gegha
riri
Title: The human experience : merchandise to sell
Input: The transition is complete economic experience. The value of the whole life is our new operational term. The migration of human commerce and social life to the realm of cyberspace has opened up new markets previously unimaginable.
Output: History suggests that every time it refers to its most important technology as a metaphor for the cosmos, or even, for God to explain science un meccanismo per l'esistenza dell'universo.
Voce: C'è un codice non verbale anche nella più semplice conversazione che dice agli oratori cosa sta succedendo oltre il piano acustico.
Input: La capacità di controllare e vendere pensieri e desideri è la massima espressione dell'arte del vendere. Non più ancorata alla geografia, il regno della proprietà concede spazio alla colonizzazione totale dell'esperienza.
Output: Non mi sento di essere un alieno in questo universo. L'unica cosa incomprensibile dell'universo è che è comprensibile.
Giovanna:
Questa lingua fra quattro gengive,
questa carne fra due ginocchi,
questo pezzo di buco
for the insane.
Item: This code does not exist when she speaks.
Title: Joan will sell the rights to its image?
Input: Each time savings of our time was filled with some form of business connections. Every institution and every human being has been courted and connected to any form of service or report sold. Now the community is a product we can buy rather than something we create for ourselves.
Output: We have cracked part of the cosmic code. We were able to understand the secrets of nature. We, animated stardust, we bring the spark of rationality that provides the keys to the universe.
Item: There was a missing element.
Input: No place, no land, no distance, no country, no city, the real is hidden and is reduced to images on the screen. No border or horizon or time limits the new cyber-world citizenship. There's nothing left to buy, nothing to gain: The desire for pleasure and for the game would be met by our artists post-modern, expropriating the cultural resources of the world, new sets and props for play experiences are bought and sold as products.
Output: The mystery of the deepest mystery is tied to the knowledge of our consciousness. There is a sense in our being here! The experience of the unity of science through the labyrinthine castle opens directly on the absolute.
Item: It was hard to find a rhythm in common.
Title: The mental activity of Joan is charging
Input: The mall is connected directly into your synapses! The biotechnology revolution promises transmissions cell transplantation Instant live in the body of our customers. E 'death of geography!
Output: God is subtle but not malicious. 'S understandable that the intrinsic evidence of divine creative activity in nature is evident, and that has something in common with our own minds.
Giovanna:
And if you take the video
-and what I feel you're saying
in a circle,
not take the video
which is at the bottom
hole in my stuffs, -
is because they do not know the background,
nor of things,
neither of my sticks,
mine.
Voice: There were only words not suitable.
Input: Your have already arrived without the need to validate your ticket for departure! There are no more "here or there" and everything is now. The day has come when the day is gone!
Output: The science says, there is probably something that can not be observed? By analogy, in an act of faith I conclude that there are other minds than my own although I can only interact with your body.
Voice: You lose touch with her, you lose interresse occasionally, you can not locate or signals rhythmic intervals of time or even the hum and buzz, audible pauses that give time to the sentences.
Input: The economy has been transformed into a huge cyber-theater of myth, fantasy and illusion. The world is a human creation: the TV is the world.
Output: Man has two eyes: one sees only that which moves in the fleeting time. The other that which is eternal and divine. It is the beauty of the guide for the truth? God had other choices in creating the world as it is?
Voice: She showed no change of expression to what was said.
Input: We live on the screen, all our machines are screens, we have screens! Human interaction is the interaction of screens.
Output: It 's inevitable that biological organisms that have emerged from the cosmic should reflect its that order in cognitive abilities? The existence of the body consciousness is a fundamental fact of the universe.
Giovanna:
A nothing like the love that the attractiveness of certain dreams of landscapes,
the fence of some clay hills whose shape appears to be above our thoughts.
When I'm trying to find out me stesso,
i miei pensieri si cercano l'un l’altro in uno spazio nuovo.
Sono sulla luna, sognando, mentre gli altri restano a casa.
Io partecipo alla gravitazione dei pianeti tra le fessure della mia mente.
Voce: Lei ti fa perdere la testa. Nessun tono d'enfasi qui e nessuna monotonia lì.
Input: L'orizzonte non è più il limite! Il nostro nuovo orizzonte è stato sovrapposto dallo schermo. La vita stessa è la nuova merce. Siamo i consumatori dalle nostre stesse vite. Le emozioni sono garantite; soddisfatti o rimborsati!
Output: Le idee hanno un tipo d'esistenza indipendente, così che di tanto in tanto vengono scoperte da una mente ricettiva? Oppure l'ispirazione is a normal consequence of a reasoning that takes place in the subconscious, with the result that is brought to consciousness only when ready?
Voice: We are beginning to understand that his speech had no sense of time.
Title: The download of Joan was esuguitta.
Input: We are now proud to announce that there is an average of 3,500 spots per day for each person and you can create a new identity every time you connect! Are you connected?
Output: If it is true, as we have developed this ability of the normal use of reason? What benefits can be conferred to the human biological mathematics and artistic inspiration?
Giovanna:
I feel the desire to not be
never to have fallen into the stench of imbecilities, waivers,
abdication and contacts obtuse. The light of this void vagabond that
every now and then, is to show the shadow that she spat a long time ago,
the same limp, exhausted, this light virtual
impossible anyway, finds herself in real life.
Voice: And that all references to the level not talked about, things that a man who speaks German could share with a man who speaks Chinese - all this has been lost.
Input: So take your pleasure freely. Play with us: we need new exotic experiences for our consumers hungry. And leave the marketing to us.
The choir begins to move toward Joan.
Several items:
seemed that she was here, just four meters.
not managed to get itself fit for what we now call the
.
What then?
It 'possible that there is nothing for those who do not consider
A question of faith.
Maybe we should talk to a physician, someone who can tell us what are the parameters.
I hate that word. I use it but I do not know what sense and use
anyway.
Giovanna: More than half of the entire human race has never made a phone call.
(The declining market)
Input and output (excitedly): More than half of the entire human race has never made a phone call.
(market growth)
III.
Dialogue of imprisoned: in prison he knows who is who.
The search for intimacy. World as a prison, freedom in prison. Theatre as a refuge from prison in the world.
Scene: elevated platform in the center. Prisoners at the center, "inside".
external voice from "outside".
Shares of rigidity in contrast with other comfort: control of the body, makeup, birthdays, solitary confinement, add some color to the uniform.
From "outside" there are complementary actions for example a mother who carries a picture where it says "missing," disappeared.
Title: You have a longing for an intense experience? In prison you know who is who.
Voice: The cemetery. Daily step along the way to the prison. On the streets the blood is just flowing. It is possible that you guys do not see it. I always see it.
Voice: When we were prisoners, were imprisoned. Despite all we had a freedom that people outside did not. There were people in whom we could confide. In prison you know who is who. But people in the street do not have this advantage. Nobody knows who is who.
Item: I tried to explain the meaning who go directly from one death camp to the road .. And 'as if suddenly would open a window to show the full horror of the universe and then suddenly shut, and then, with those images in your head, go, go out and try to live.
Voice: When I went out of the country after my asylum, I have sometimes been prey to the exact same symptoms, just as when I was inside. It was like being in jail when I was at liberty and freedom when I was in jail. I went to bed and I could not sleep with the window next to me where you could see the road. I could hear every car that stopped, every door that opened, I did not go out anywhere.
Voice. Tutto il tempo ho avuto l'immagine permanente della prigione, sai? Guardavo l'orologio, l'ora di controllo- avevo quasi un orologio biologico. Ogni minuto aveva un'altra dimensione –Stavo nel tempo della prigione. Sono vissuta in quel ritmo. Pensi di sapere cos'è il tempo? E allora, io ti dico: finché aspetti la prossima campana per vedere un barlume di sole, finché stai contando i giorni anche se non hai una sentenza fissa, finché tu sei sotto la luce aspettando la prossima scossa o schiaffo, o ascoltando i passi di un altro uomo che sta venendo lungo il corridoio e ti domandi se tocca a te oppure alla mia ragazza....
Voce: Prima sentivo di esser una tizia veramente importante, alta sulla scala del partito, proprio the place of a great man. I had a big problem on the lack of respect for others with different ideas. I was so politicized - I was a real bitch. But inside the prison, suddenly you could see some kind. I saw this lady who was knitting all day and she told us the harsh truth about the situation. And I asked myself, "How come? Party that is part of her?" .... She does not belong in any of that stuff, the lady knitting, singing, cooking empanadas. That woman makes flowers grow inside our heads!
Voice: I remember the first birthday we celebrated with a cake made of bread. "Oh, wait, I'm not, I do not eat that." "Ah, but hear it's because you you've just arrived, however, you do not know what you want to eat it! "We have not always done. .... Birthdays Christmas And you know after I left I made for my mother nor I could eat it!
Meeting with individuals from the public: look, meetings, and questions.
Then, the platforms are moved and has a long corridor. Joan alone in solitary confinement, and others like that but in the audience, we created space.
Joan sings "invisible", but the others feel.
Action Scene: torture as "writing" on the body
Title: The practice of torture is widespread in over 60 countries worldwide.
Item (There are screams silent): The most terrible moment when I really felt imprisoned, was when I shared the island with the Mariposita. We did not know if she was a "political" or a "common". We never knew. In that hole I could not see his, but there was this presence, this intensive care, as a communion .... I tell you it was so religious. That little butterfly, so fragile ... so feminine, so silent: she survived, she survived the worst beatings that they could give those bastards. Strange, dark by this time more than you can imagine, came the most interesting and exciting moments I've ever experienced. These ....... You saved me
Joanna, singing: (The Farfallina)
This is the white Christmas is coming
Most white Christmas I ever had
This reminds us of the snowy night of our house
I'm remembering the whiteness of the void
E also hope that this is so white
And I'm making the effort to fill it with color
as the purity and whiteness still means
not lack in the heat of the sun to feel your warmth and close your company
freedom in the deep green
fields sown in your children and those yet to come
and although it would be necessary to wait for another white Christmas
or one that would the color of our friends will be lost
the fullest
what will bring relief to many years of pain because we have been able to live a
Christmas with the color of life.
Item: Learn how to collect inside themselves and realize that there are people being tortured halfway around the world, who speak another language, and you converse with them, more or less automatically, until it becomes aware that you are doing and then stop and see what is in front of you at that moment, as .......
One night could not sleep, I listened to the hoarse breathing and finding myself strangely excited. As an anonymous woman herself, in sleep was no longer unknowable than any other.
Watch. The body pulsates faintly veiled. That 's what I feel, looking at the body quiet and vulnerable, could be any body, that you put next to her after we made love and the warm breath of his dreams without mercy and wonder: Who are you?, Pondering fondly the truth that you never know, because this is the secret that sleep protects neural in its depth, its degrees, levels and folds.
What is the point c 'was the first time that a rational creature looked deeply into the eyes of another? It's been one hundred thousand years before it happened or it was the first thing we did, transcendentally, the thing that was most advanced, modern gaze that shows that we are alone in our souls?
IV.
Theatre in prison: the myth of Demeter
The first rape.
Mothers and daughters.
The "internal" representation stage a "naïve" on the myth:
What is the purpose of this scene?
D'use the myth as a way to understand "the psychology of contemporary women."
The plot: It
had no armor protection .... she was alone and no ability to improvise, to recreate it again. He was afraid. How simple and true. He was in here the cry of the world. This was her screaming face, sorry, the 'how se non’ delle cose. (Persephone?)
I.
"C'era una volta". (in principio)
Demetra e le sue quattro figlie. (Paradiso)
Le prime mestruazioni. (Biologia)
Ratto e stupro. (Incesto)
Rabbia e lacrime.
Ritorno a casa, isolamento e destino delle figlie.
II.
Rimozione S della storia
La matrigna malvagia.
Le erranti matrigne.
Principi e cavalieri bianchi.
III.
Dove siamo oggi.
Titolo: L’attrice recitanno i detenute recitando il mito di Demetra e Persefone.
Canzone di Demetra e Persefone
Adesso siamo pronte
A cercare lontano la fonte
Di come la femmina donna sia diventata.
Guardiamo attraverso questa lotta innata,
della biologia dell’essere
e della psicologia dell’esistere,
del vivere e del capire;
noi, che ci siamo rassegnati a definire
forse è in questi racconti che…..
Titolo: Chi saranno le nostre dee e le nostre eroine?
(ritornello)
Gli dei mai avranno morte.
Dove sono le nostre figlie?
Dove si nasconde la magica sorte?
Dorme tra le pieghe di silenziose conchiglie.
Da altari e templi abbandonati
si alza ancora una voce per lei;
invocano le figlie i destini sognati,
madre dove sei?
Titolo: In quale lingua le interpelleremo?
In the field of myth Persephone to her mother Demeter collects
poppies leaves, with a perfect love
unparalleled
language, music, laughter and more of these gifts,
that she and her sisters created with love and the goddess of
life and the Grand Harbour.
His energy flows forever and is renewed for ... ....
Title: How can the creative impulse to be fed in women -
that we have forgotten our myths, and rituals that we do not have to proceed?
(chorus) The gods have never died ....
On this special day in which the first menstrual blood
A 'sweet fullness of joy is celebrated. But salt
a strange smell from the darkness.
Father, brother, husband, Pluto is horrible, ripping
any secret known to Persephone,
tattered clothes, and drag the pain,
and eager crowds on that day without warmth.
That damn day Persephone said ... ..
Title: How can we experience the divinity that resides in the female body?
(chorus) The gods will never death ... ..
How can you forget her daughter missing?
Demeter rages and ages, is now tired.
laments the fate of the divine maidens tears that welcomes
when you cross the thresholds of their homes
And the merciless foul, greedy, the drills. Demeter
invokes the darkness of darkness all colors.
welcomed by the women's meeting of love, returned
to turn the wheel of sacrifice and pain, but women
forever ....
Title: When will stop all the stupid lies between mothers and daughters?
(chorus) The gods have never died ....
No celebration of mothers and their ferocious creatures
long reign with the prophets and brothers impure souls.
mean, the wandering Demeter turns,
Cinderella wants to punish, he learned to dream!.
A prince can save the young
or love, that a spell it evokes. Before being expelled
Forgetting even that ... ... ...
Title: How to celebrate that day?
(chorus) The gods have never died ....
So, look, where are we now? Hidden
traits assigned to the destiny of our sex.
What are the values \u200b\u200bthat you lift up?
Man or woman, you decide, you dare!.
Where is your place in society?
Much of our blood flows in a world of cruelty.
E 'can be simply a woman who knows ...;
Title: How do women learn to overcome a model of sexuality and incestuous
procreativo?
(ritornello) Gli dei mai avranno morte….
Così crudo urla il nervo scoperto del mondo
E noi, semplici,vere siamo sole ritagliate sullo sfondo.
Siamo sorelle,madri,figlie e amanti….
Potremmo essere ricreate sacre e festanti.
Un fascio coraggioso, amoroso, voglioso…
Tra Demetra e te
Deve essere costruito perché….
Titolo: Come creeremo un clima in cui potranno prosperare molte donne
dispensatrici di conoscenza?
(ritornello) Gli dei mai avranno morte…
Note: (da Donne e Follia, Phyllis Chesler)
Probabilmente, le donne furono il primo gruppo di humans enslaved, (subject).
The ardent love bond, continuity (ie, inheritance) and the dignity established between Demeter and her daughter Persephone does not exist in the myths or Catholics in contemporary culture. "
The daughters literally starving in marriage: no because of marriage, but because of the physical relationship and the legacy of power and humanity arising from their mothers. In modern society, the personality and incestuous employee "of women is the result of the deficiency from the mother and the father of their role as "divine".
Girls women are turning to their fathers to receive physical affection, education, o emozioni piacevoli e intense,- intese come sessuali dal maschio adulto- se pure esse sono innocente, incapace, giovane e monogama,e idolatrano il loro padre.
Le figlie non vanno dalla madre per l’iniziazione sessuale –piuttosto le rifuggono.
Ogni società con stereotipi sul ruolo sessuale implica spesso una certa storpiata durezza fra gli adulti e i bambini dello stesso sesso.
Pure se la maggior parte delle donne non hanno rapporti incestuosi col loro padre biologico, il matrimonio patriarcale, la prostituzione ed il popolare amore "romantico" sono il predicato fisiologico dell'unione fra figlie e figure maschili sul modello del padre.
Le donne contemporanee sono schiave libere: scelgono la loro servitù per "amore". The women are trained to be "taken away" emotionally so far, so that they can no longer think. Persephone was snatched away from her mother and brought down to Hades, as women today, dragging themselves on the islands of marriages in the same underworld.
Joan of Arc serves as a source of renewal male, through his military victories and his persecution. Although convicted, it is vigorous physically and spiritually, one end (example) for men. There was raped and becomes a mother: it embodies the escape the fate of both Demeter and Persephone, Mother-daughter, past the realm of patriarchal culture. For this she is killed. The inevitable sacrifice
of whether that biology demands by women in many cultures, is at the heart of the myth of Demeter. Persephone is doomed to a fate universally female, like her mother, nurturing and producing (stories, mothers and daughters: the natural cycle of birth and renewal) to support humanity (and male). The modern Persephone
still not a place to go beyond marriage and motherhood, her mother taught her to be a warrior-take difficult paths to unknown destinations and unique.
unlike the men, women are categorically denied the experiences of cultural supremacy, humanity and renewal, based on their sexual identity. All
women who give birth to children are making, literally and symbolically, a blood sacrifice for the perpetuation of the species.
Madness (furious) of women is essentially an intense experience of female castration in terms of biological, sexual and cultural ordered a search power, which is often seen as another form of self-sacrifice. The modern
Persephone is not the most elegant nor divine, nor longer than is saved by her mother, Demeter no longer exists, certainly not for her daughter. Persephone has become Cinderella, witches and home to a silent Demeter became stepmother, both hating themselves and each other suspicious. Mothers (stepmothers) do not prepare their daughters for the pilgrimage, or reflections and achievements have given them purpose and illusions rather than romantic or escapist literature.
mothers begin their daughters-in sacred sisterhood (brotherhood) of discontent not only ensure that their daughters will survive. The mothers are alone, isolated and in need of kindness-something that they have received from their own mothers or husbands, something that Demeter as they hope to receive from their daughters.
Then, the rebellious children are dealt with severely by his mother, as lovers and companions deserting the roles which they were intended to cover.
Because our mothers and grandmothers and great grandmothers we were never told what battaglia abbiamo perso, o mai combattuto, in modo che potessimo capire quanto totale fosse la nostra sconfitta? E che la religione e la follia e la frigidità erano proprio come le abbiamo piante? Perché le nostre madri erano così silenziose sullo stupro e sull’incesto e sulla prostituzione e sulla loro stessa mancanza di piacere? Perché, quando avevano così tante parole, non hanno nominato per noi le nostre eroine e parlato con noi delle femministe e delle suffragette e delle Amazzoni e delle grandi-madri?
V.
Il primo intervento del pubblico.
Madri e figlie: le attrici cercano e (forse) trovano le loro "madri" e le proprie "figlie".
Testimonianze, domande e indagini sull’inizione Western sexuality.
Title: It is assumed that 130 million women have undergone genital mutilation, and over 2 million are at risk each year.
Range:
The public is invited to participate in the second half of the show. A test is organized.
VI.
SCUM Manifesto: Valerie Solanas's return.
Recruitment and poetic action / policy: The "Cadre bitches (bitches Framework) is formatted.
Note on staging, Surrealist techniques are explored: "cut-up (cut and paste) and collage. Language as a weapon. Teatro del Popolo (rudimentary) and various techniques "Brechtian" happy, jokes, loud, exaggerated style and vulgar, posters, banners, etc..
Valerie, (who says the actress Giovanna in "costume" by Valarie) sudden and sometimes with the public and other uses prepared speech in verse.
Title: The Return of Valerie Solanas: sacking the male culture.
Valerie:
What a bore. How boring those embers.
We want them? Horrible and incomplete. But
, dangerous women, turn me on. A car
enough shit on the way
-Man, an animal? Not! Fixed-
to fuck the shame is this lie!
Title: Valerie Solanas: SCUM Manifesto is the author of the woman who shot Andy Warhol.
Voice: The male is completely egocentric, trapped inside himself, incapable of empathizing or identifying with others, or show love, friendship, affection or tenderness.
Valerie:
To fill the depths of his sadness,
envy, jealousy, insecurity-
he fucks a woman who despises-
or children, dead bodies, this is his kingdom.
And we love motherhood and he says I am giving you.
weakness and vanity is all we have!
Then we give?
Voice: There's a reason why a company would not be reasonable and able to empathize with one another, complete and with no reason to compete, there is no need for government laws or leaders-all created by men to suppress women.
Valerie:
independence, courage, vitality, strength
, I am sure we have intensity.
But to prove that great men are only
war between the superpowers.
In reality he envies the FICC-
wants terribly to be a friend.
Voice: There is no human reason for money or because someone works more than two or three hours a week at most. All creative work is not (just about everything working today) may have been automated long ago, and in society without the use of money anyone can get the best of everything that women want. But ci sono ragioni maschili, non-umane per la volontà di mantenere il sistema del denaro.
Valerie:
Con la sua donna incapace di stare bene-
Con il suo idolo denaro lui si mantiene.
Potere, controllo sogni di successo,
padrone di tutto ciò che è vivo che lui ha represso.
Brucia l'amore -non può prendere né dare-
ma il lavoro, solo il lavoro il conto a lui sempre fa quadrare.
Voce: Nessuna genuina rivoluzione sociale può essere realizzata dai maschi, perché l'uomo al vertice vuole lo status quo, e l'uomo più basso vuole essere al vertice. Il ribelle maschio è una farsa, questa è la società maschile, fatta da lui per soddisfare i suoi needs, but is never satisfied because incapable of being satisfied. In order that to which the rebel is rebelling male is his being a male. The male changes only when forced to do so, because of technology, when he has no choice, or when 'society' reaches the stage where he must change or die. We're right at that stage now.
Title: Valerie Solanas is considered "crazy" and "criminal" because they acted on what
many people are content just to "appoint" and criticize words:
dell'assessualità the existence of misogyny and patriarchal culture.
Valerie: Thinking
himself as a true Someone - either,
and seeing the magic of the earth - that she does not miss,
our eyes as a mirror, that fear, he turns around.
Every man has his home at gunpoint.
The woman on the other woman he takes away, if
female spark anger, he says:
take a herbal tea!
Item: As a human being has more right to exist than dogs by virtue of being more advanced and have a higher consciousness, so women have more right to exist than men. The elimination of some men, then, is a good and virtuous act, an act which brings much benefit to women, but also an act of mercy.
Valerie:
So if you have not understood until now,
if you want a change, our refusal is irrepressible.
Without us women the male world can not work, beg mercy-
not leave you buy. O
these unprofitable, lower monkeys, men ill-
Solidarity begins here we are saved, alleluia.
Most women are very conscious of where they come in their relationship with men. The conflict, therefore, is not between women and men but between bitch-dominant, secure, sure of themselves, dirty, violent, selfish, independent, proud, adventurer, obscene, indecent, free, fottitrici, cheat, arrogant females, che considerano loro stesse capace di condurre l'universo, che se ne straffottono dei limiti della società e sono pronte ad andare più lontano oltre ciò che è offerto -e quelle che sono gentili, passive, accettano, acculturate, cortesi, dignitose, soggiogate, dipendenti, spaventate, irragionevoli, insicure, cercano il benessere, figlie di Papà che sono così pusillanimi a confronto della realtà ripulsiva di ciò che è un uomo, di ciò che è Papà.
Ma, CAGNE è troppo impazienti per sciogliere l'indottrinamento di milioni di stronzi. Perché devono continuare ad essere femmine libere e arrancare foscamente insieme con quegli insipidi maschi? Perché le indipendenti devono essere confinate nella fogna insieme con quelle dipendenti che hanno bisogno di aggrapparsi a Papà? Una cellula nucleo di CAGNE può prendere il potere nel paese fra un anno e fottere sistematicamente il sistema, distruggendo selettivamente la proprietà e l'assassinio!
Allora ecco che faremo:
Voci diversi:
CAGNE, siamo membri della squadra dello s-lavoro (fottere), della squadra fottitrice; prediamo i posti di vari tipi di s-lavoro.
CAGNE, siamo commesse che non fanno pagare per la mercanzia.
CAGNE, siamo telefoniste centraliniste che non fanno pagare per le chiamate.
CAGNE, siamo operai degli uffici e delle fabbriche, fottere è il nostro lavoro, e segretamente distruggiamo gli strumenti.
Bitch, we s-work in places as long as we fired, and then take a new position of s-work.
Bitch, we replace it violently in their work bus drivers and taxi and subway workers go without pay.
Bitch, we replace the workers violently radio and TV networks to take control of waves of radio and TV.
Bitch, we will destroy the couple will explode-mixed couples, male-female, wherever they are, and annihilated.
Bitch, keep on destroying, looting, to fuck and kill until the system of money will no longer exist, then setting up automation, all governments will cease to exist.
Title: His behavior is "crazy" because it represents the attempt of an individual socially powerless to unite body and feeling.
Valerie: These men are sick, irrational, those trying to defend themselves from their crap when they see the bitches will attack and cling to the Great Mother with her big bouncy breasts, but Mommy can not protect against Big bitches, she will cling to Big Daddy to be in the cacaando in his pants. Men who are rational, anywhere, will not protest or casino, but remain calm, relax, enjoy the show and ride the wave of death!
At the end of the scene space is divided in due gruppi che si combattono (con coinvolgimento del pubblico che interpreta vari ruoli come rivoluzionarie femmine, “Black Block”, pacifisti, poliziotti, ecc.)
VII.
Sulla barricata.
Esplode una violenta rivoluzione nel teatro. Il pubblico come due "eserciti" contrapposti.
Giovanna (non Valeria) e le sue donne neutralizzano (Shanti Sena) le forze dell'ordine ed il gruppo di violenti rivoluzionari con loro corpi nudi (corpi senza l'organi, da Artaud).
Giovanna (alle rivoluzionarie violente): Ogni volta che noi possiamo aggrapparci ad una forma, per quanto imperfetta possa essere, tieni duro, per non perdere il pensiero intero. Sono indegna di me stessa, io lo so, mi fa soffrire, ma io accetto il fatto della paura di non morire completamente.
Sorelle! guardatemi e vedete riflessi in questo specchio d’argento che io sono, l’odio rigido di questo vecchio mondo esausto. Ma io so che potete vedere anche questo odio che si dissolve, e qualcosa di nuovo, tenero e delicato, ci sta chiamando. Rispondi a quell’appello! Senti che chiama?
(alla forze dell'ordine)
Il viso umano
é un potere vuoto,
un campo di morte…….
……..dopo mille e innumerevoli anni
che il viso umano ha parlato
e respirato
si ha ancora l’impressione
che non abbia ancora cominciato
a dire cos’è e cosa sa.
Una preghiera (a tutti)
Tutti quelli che vivono sono nella disperazione. E questa è una malattia che ci accompagna fino alla morte. È per questa che un uomo rifiuta di essere cioè che è. E le donne, noi donne dobbiamo essere aperte all'estasi e all'illuminazione divina. Sono sicuro che ci sono qualità umane ancora da scoprire: vivere in una condizione ispirata, conoscere la verità, essere liberi, amarci l'un l'altro, immergerci nell'esperienza, abitare con la morte nella chiarezza della consapevolezza. Il Bene e il Male sono reali. La condizione ispirata non è dunque una visione. Non è un privilegio per gli dei, i re, i poeti, i preti, i templi, ma la possediamo noi tutti e per all that exists.
(He wakes up and reveals itself)
No one can really show what it is without a sense of shame and performance.
VIII.
Sanitarium, or prison?
All the disappointments of Joan?
The scene is like the scene two. Back
the chorus of songs and numbers:
menendi anenbi
embenda
Tarco inemptle
or lozenges marchti
Tarco paiolt
to tinemptle
pendu
orch or orch patendi
to merchit
torrpch
ta ta urchpt orchpt
against taurch
Campli
ko you aunch
to you aunch
aungbli
Title: Location: insane asylum, prison and research lab?
Input: Maybe this woman is helpless against the truth of the world.
Output: What truth?
Item: It is assumed that time passes.
Input: But maybe she is living in another state.
Output: Where the quality of time is simply overwhelming, existing inaccaduto, and she lacks the ability to rework this condition.
Voice: What skills?
Input: There is nothing you can do to imagine the time existing as a sequence reassuring that passes, flows, the academic world happens, we create it with the names, dates and distinctions.
Output: Its future is unmentionable, concurrent with this in some way. is one or the other happens sooner or later and are equally accessible, perhaps, only in his mind.
In box: premonition about the fate of Joan.
She was staring at him. It seemed but maybe it was not. I thought that his eyes were unable to find or make things. However it was not normal. It is assumed that the eye patterns, processes and picture, telling a story that we want to believe.
Joan: Then I reached.
Output: What?
Joan: One of the very thing. Now, yes, years.
Output: Do you know what? One day? One year? O hear me use these words?
Giovanna: Tell me the words.
Output: Tell me the words.
Joan: When the inside.
Output: When you are inside. What?
Joan: Part leaving.
Output: Who is leaving?
Joan: This is when you, you, you said.
Output: What did I say?
Joan (another voice): Do not touch me ..... ...... I clean it later.
Silence. She sings a lullaby to try to involve her. John makes a lot of effort, touching but not successful.
Joan: The word for it ...... brilliant brilliant.
together Chorus: The word for it ...... brilliant brilliant.
IX.
Intervento del pubblico 2 : "Cadavere Squisito".
Dialogo: azione dello specchio con discorso sull’aspetto "schizofrenico" del mercato e la resistenza. Desiderio e mancanza.
Sei disposto? Sei un regina/re ; sei sacra(o)? Giovanna identifica il re.
Nota: La frenesia del capitalismo moderno mentre utilizza sempre la tecnologia nello sviluppo, che produce sempre più rapidi cicli di desiderio/mancanza (identificazione/ consumo), continuerà a creare nuove forme di consumo e di esperienza in cui si deve pagare per avere (come il cellulare, devi pagare per averlo e usarlo e poi diventa essenziale per la vita quotidiana). Con la tendenza evolutiva del capitalismo perpetuated at the same time: the hierarchical structures of the patriarchal exploitation and destruction of cultural and ecological systems, and the continuation of the indoctrination of false desires; the increasingly small arena of the idea of \u200b\u200bautonomy, the increasing inability of achieve a real and present human contact. (All the world's diversity of experience is absorbed like a sponge and then rinse and squeeze as a result sold). So, disrupt, break the cycle and eliminate desire / lack becomes the focal point of active resistance against the increasingly intrusive marketing of human experience.
Tactics of Resistance: diminishing the pressure buying and replacing the commercialization of the human experience with a deep and active search for alternative ways of being, and creating and implementing a true community. "Imagination as a survival kit" Julian Beck).
start with the here and now-time-to explore another kind of desire and awareness in which there is "no", but the encounter between people and the discovery.
Action: Improvisation: sound, movement and poetry machines.
Other topics: Desires, "Hunger" and social change.
Title: Imagine that a sorcerer will penetrate with his fierce eyes and wonder: "What is your true desire?"
Different voices (some songs were distributed among the audience during the interval to be used in the creation of shares):
But it is not true that you to drift from one reality to another, regardless of the logic of time. This is not possible. You are created by time.
This is the force that tells you who you are.
Close your eyes and feel it. It 's the time that defines your existence.
Time is the only narrator that is important. Curtains events and enables us to suffer and then from there we go out and see the death that happens and then we go from there.
But not for her.
Title: What is required for all movements Liberation: The strength of his unconscious, the investment of desire in the social field, and the divestment of repressive structures.
She is in the other structure, another culture, where time is something equal to itself, absolute and naked, devoid of protection.
Where's the time? What does it mean for you? Show
time. Are you hungry?
You can stay in the moment with your hunger?
And if you want to get the tail?
Perhaps there are times when we slip into another reality, but you do not remember, we can not accept the truth that it could be devastating to integrate.
X.
Super-heroine, the great rifiuto
Azione: le donne vanno insieme.
Contro-consumo; oltre desiderio/mancanza.
Forma: un "happening."
Parateatro: comunicando come le donne.
Titolo: News Flash: La Mariposita rapisce il cuore a miliardi di ragazze.
Giovanna: La donna nuova possiede ancora più grandi e puri sentimenti. Ella è sola e unica, afferrando il suo cuore. E delle correnti sgorgano nel suo sangue, lei sta in una stato assolutamente impulsivo, libero. Finalmente non è più soltanto un'immagine! E' attualmente donna, completamente impigliata nel cosmo, ma con le percezioni cosmiche. Non pensieri contraffatti, ma solo le sue emozioni la conducono e la guidano. Soltanto allora lei può forward and approach the absolute rapture, which gives off tremendous ecstasy from his soul. Yet these new women are not crazy or stupid: Their cognitive function according to a different kind. Are unperturbed. Do not live in or looking through the echoes. Their experiments directly. Woman blows before the woman!
Voices: Why
our mothers and grandmothers and great grandmothers we were never told what battle we lost, or never fought, so that we could understand what was our total defeat? And that religion and the folly and Frigidity we were just like the plants? Why our mothers were so silent on rape and incest and prostitution and their own lack of pleasure? Why, when they had so many words, have not appointed us to our heroes and we talked to the feminist and suffragette and the Amazon and the great-mothers?
If we women never want to go out by ourselves from the quagmire of self-, self-destruction and impotence that has been our heritage for longer than we can remember, so it is important to have compassion and understanding for our failures and weaknesses, but is even more important that we give support to the achievements and success of ourselves.
Joan: We're Just !...... consumption! Without the mill machinery of desire! Bodies without organs!
Choir singing
She explodes in front of the woman are one and only
grabbing my heart exhales
ecstasy
advancing the Rapture absolute
But I am unperturbed cosmic perceptions
gush in my blood
Visions tremendous forge They are like my soul
explodes in front of you!
Title: Breaking News: Erika and Omar confessed to killing that has shocked the country. Erika said that would be known as The Mariposita.
Joan is arrested.
XI.
Betrayal
is amassing an infernal machine: a court.
Title: No more sacrifices.
O, kill your daughters mother: a tribute to Erika and Omar.
Voices: Death sentence for Erika!
Judge: Order! Order in court!
The accusation is incitement to murder his own mother to many adolescents. How do you respond to the charge?
Joan: We're all perverts.
Judge: There is no evidence to present?
Defense: The accused is simply a poet of the surrealist school. Yes, she is an acquaintance of libertarian and anarchist-feminist party has played an active role in the rebellion, but has already paid his debt to society.
anticipate the argument of the prosecution. Each technology has its own disaster. The nucleus has its Chernobyl and the oil suffocates the planet, and on the roads every day vehicles choke the lives of billions of our young people, and now the prosecution seeks to tie the responsibility of the disasters of the latest audio-visual Giovanna, La Mariposita-disasters devastated the minds of our young children, even our poor Erika and her partner Omar.
Prosecutor: There is a frantic need of consumers to continually recreate themselves to respond to the creation of new desires always. Every desire, every new I want is a new potential, acquired a new potential. And this is the way of being post-modern consciousness and I maintain that it was the irresponsibility of this artist which led to the death of the innocent mother of Erika.
Joan: What a nice rest speak of bicycles and horns. Unfortunately it is not them that I speak, but she put me to the world through the hole of his ass if I remember correctly.
Defense: Erika is a girl of plastic. E 'fake in the sense that he lives a gap within his own person before even live in detachment from the world.
Prosecutor: Capitalism, the latest development of technology and the hyper-consumerism must create a continuous cycle of new desires for the products, experiences and transactions: these are artists who are serving Mammon!
Joan: We have not finished singing the litany ignorance of the unconscious that knows nothing of castration or Oedipus, just as he knows nothing of their parents, God, law, the deficiency: The baby is a metaphysical being and the parents are not concerned. We are not castrated, and then go and fuck you!
Defense: She cries when she should not cry, laugh when they should not laugh. It 's out of every rule.
Prosecutor: The fragmentation of the self-concept corresponds to the multiplicity of incoherent and disconnected relationships, just as the technique used by these artists. These relationships pull us in myriad directions, inviting us to play so many roles that the concept of an authentic self recedes from view.
Giovanna:
From one point of view it would be better if nothing was going, nothing works. Better if I had never born, if I avoided the wheel of birth and rebirth continues, no mouth to suck, no anus to hunt.
Defense: Erika lives what the experts call it the spread of identity, it disperses into a number of worlds different from each other and no real.
Prosecutor: The image that produce flash across the retina of a viewer of MTV materials are isolated, disconnected and intermittent fail to create a coherent sequence. This schizophrenic culture absolutely does not want to enter the realm of speech and language. This culture is rootless, separated from the history and exists outside human time.
Giovanna:
You are who you claim to be. I love everything that flows, even
menstrual flow that carries away the seeds infertile.
Under the hair, the body is a factory hot,
and out,
The invalid shines, shines
, burst from every pore.
Defense: It is a borderline personality, dissociation, plunged into psychosis.
Voices: Death sentence for Erika. Burn the witch with her!
Judge: Order! Order in court!
Because we thought there was something in her psychotic, perhaps because the people who threaten our beliefs have always believed crazy?
Please continue the prosecution.
Prosecutor: (love you): Please Giovanna. .... You are my star witness. You have instigated these impressionable girls?
Joan: I am my daughter, my father, my mother and myself. And I will not say I never, is just a stupid curse. Every time I hear this, I will use the third person, in case you remember. If this amuses you.
Defense: Objection!
Judge: The code shows us the delusion of having a remarkable fluidity. There is a code that can not coincide with the social code. Or will coincide only as a parody. Joan, did you love your mother?
Joan: I remember at the age of six years while I was eating a piece of chocolate, that a certain girl known as my mother had given me. I asked myself what sense is there, to be alive, what is the point to be aware of breath, and remind myself that I wanted to inhale in order to prove that I was going through and see if I like being alive, and if so why. Do not have
Papamummi.
Judge: There are unfortunately the victims of this inexorable march of capital. Parents should help their children to check very carefully chosen for their purchases. Giovanna convicted of six counts of. The sentence is scheduled for tomorrow. It allows you to talk the court.
Giovanna: churches, armies, states-which, of all these dogs want to die? God I'm not God I am a clown of God Apis. I am an Egyptian. I am a red leather. I'm Negro. I am a Chinese man. I'm Japanese. Are foreign. I am a bird of the sea. I am a bird of the earth. I am the tree of Tolstoy. Are the roots of Tolstoy. They are husband and wife in one. I love my husband and I love my wife.
XII.
Sacrifice
The death of Joan
The blaze: Brechtian theater, the actress shows the death of Joan
Title: (Song)
Why the death of another does not lead us to ruin horrible? We do not know how to love who we love until they disappear abruptly.
Joan: She felt invaded by nausea, so deep that he fainted, and then caught sight of the swollen clouds of air, a small band of iridescent colors that reflected on tenuous part of the hill, and started, you forget and began to contemplate the colors hovering in the sky, which was es'accorse the rainbow. At one point it burned vividly, and she, the aching heart of hope, she sought the shadow of the iris where the bow and had to be, slowly, slowly, mysteriously, from nowhere, the colors appeared, and loomed in the sky a rainbow in the small intestine, large, bent, became intense, drawing her indomitable semicircle, traccio un’architettura immensa di luce e di colore sullo spazio del cielo, poggiando i suoi piedistalli luminosi tra la bruttura delle case, ai piedi del colle, ma toccando con l’apice la sommità del cielo.
E l’arcobaleno stette, sospese sopra la terra; ed ella sentì che quelle persone sordide che formicolavano isolate e insensibile sulla putredine del mondo erano ancora vivi, che l’arcobaleno estendeva sua campata di vita nei loro spiriti, e che essi avrebbero gettato via l’involucro corneo della loro disintegrazione, e nuovi corpi nudi sarebbero emersi a nuova crescita, a nuova fioritura, ergendosi alla luce, al vento, alla pura pioggia celeste; e ravvisò nell’arcobaleno l’architettura News of the earth: the ancient material decomposed and crumbling houses and swept factory, the world, built in the construction of a living Truth, to measure the vault of heaven.
XIII.
The real find here.
The last speech of the public:
What the public is hungry? For example, exploration of the politics of gender.
Action: All are bisexuals, all have two sexes.
Two people meet, if they are of different sexes, then, a man "presents" an action with the female within himself to the male who lives in the woman, then, his male to his male, and his male to his female and his female to his female, and alla fine: "Namaste" (sanscrito: il divino dentro di me saluta la divina dentro di te).
Coro (le frasi sono sempre legate ad una azione che coinvolge le spettatore):
C'è un attrazione fondamentale e un antagonismo fondamentale fra me e te.
Nessuno può mostrare chi esso realmente sia senza un senso di esibizione e vergogna.
La realtà è troppo forte per te?
Rischia. Credi in quello che vedi e senti. E' la pulsazione di ogni intuito segreto che hai sempre sentito intorno ai bordi della tua vita.
E' quello che sta succedendo così lontano della tua esperienza che sei forzato a trovare scuse per non seguirlo, oppure trovi spiegazioni meschine as if it were an error of perception?
Can not imagine such a thing even if you see it?
voice of John: There are two bodies in one room. It 's so that she feels them, explained in the heart during the second half, used to slip over the threshold of the door, hands that touch and rub and mouths that open slowly. His cock hardens in her soft pink punch: their mouths are slightly open to get tongues, nipples, fingers, any lump of flesh, and the whispers of 'cos' was' and so' is', and their eyes are dell''altro open soul.
End
Sources
"Women and Madness" by Phylis Chesler.
"The Mind of God" by Paul Davies.
"Open Sky" by Paul Virilio.
"The Age of Access" by Jeremy Rifkin.
"The Protean Self" by Robert Lifton.
"The Body Artist" by Don DeLillo.
"The Adventures of Augie March" by Saul Bellow.
"Anti-Oedipus, Capitalism and Schizophrenia" by Gilles Deleuze and Felix Guattari.
“Desdemona’s Lament” by Julie Taylor, article in TDR Winter 2001.
Text from a German expressionist manifesto.
"The Rainbow" by D.H. Lawrence.
“SCUM Manifesto” by Valerie Solanas.
Antonin Artaud, miscellaneus collected writings
Sarah Kane
0 comments:
Post a Comment