I seek some empathy for today is the 82nd day since the theatres have gone dark, and many more days of darkness are ahead of us, even as the rest of you begin to step out into a new normal. The time remains dark for us, and we’re desperate for light. But instead of thinking about that, I have sent out the horsemen to fight a battle of opinion, using truth as the weapon.
I am sorry that I have pushed us into a dead end in my response, by ignoring your blindness, by insisting that by a uni-dimensional standard, I am worthy.
And, so, now, I ask, what if, what you say is true?
I had the luck and privilege to attend the last full dress rehearsal of Theatre Practice’s Four Horse Road last night, March 24, 2020. I was free. Literally, freed, released, cut, or retrenched. There’s no other way to call it such when your entire industry goes dark. My rehearsals had been cancelled, because the show […]
As an observer of Southernmost and writing this response essay, I found myself asking a nagging question – Why should a handful of international artists gather, spending our carbon footprint, to verbalize and analyse the experience of meeting the Other?
I propose two frames in this essay to help deepen the analysis of my question: 1) Tranculturalism; and the more cynical sounding 2) clash of civilisations.
Excerpted from Svetlana Klimenko (2003) Shakespeare, Chekhov and the Emergence of the Transcultured Self in Denmark, Language and Intercultural Communication, 3:2, 151-157, DOI: 10.1080/14708470308668099 ” I use the term transculture as it was put forward by Russian scholar Mikhail Epstein, who introduces it in the following way: The quality and merit of culture is its capacity […]
I’ve been wanting to connect with other art and theatremakers in my time here in Lisbon and staying indoors, one does not. So I wandered, and wandering can lead you exactly where you want to be. On my second day here, on my way down from Hangar in Graça, I wandered into an open gate. […]