SCENE IV:
A Night in the Theatre of History
pp. 52-70
DESCRIPTION/SET UP
SURRENDER and the ANXIETY OF THE UNRESOLVED
Maggie is confronting the reality of certain change that will bring about an uncertain future. The dance between the normative and non-normative, the self and the other, and the possibility of a changing reflection in Lacan's mirror results in an anxiety of the unresolved. How does one let go, surrender?
THE EOE-FBS
Object:
A classic styled white dress (a modernist cube?) perverted by non-symetrical cuts and transformed/queered by the non-normative - a nod to the dance between Modernism’s normative and The Other’s non-normative. Tucked beneath and extending as the train, a parachute lets us let go but also can catch the wind and pull us in unexpected directions.
Music:
Sequence (Four), Quartets:Two - Peter Gregson
DIALOGUE w. STAGE DIRECTIONS
T will rot my love?
Top surgery will rot my lust?
Pregnancy will rot my brain?
Society rots us?
I am no longer sure which of us is more at home in the world, which of us more free (pg 52)
DREW LANDIS
pp. 52-70
DESCRIPTION/SET UP
SURRENDER and the ANXIETY OF THE UNRESOLVED
Maggie is confronting the reality of certain change that will bring about an uncertain future. The dance between the normative and non-normative, the self and the other, and the possibility of a changing reflection in Lacan's mirror results in an anxiety of the unresolved. How does one let go, surrender?
THE EOE-FBS
Object:
A classic styled white dress (a modernist cube?) perverted by non-symetrical cuts and transformed/queered by the non-normative - a nod to the dance between Modernism’s normative and The Other’s non-normative. Tucked beneath and extending as the train, a parachute lets us let go but also can catch the wind and pull us in unexpected directions.
Music:
Sequence (Four), Quartets:Two - Peter Gregson
DIALOGUE w. STAGE DIRECTIONS
T will rot my love?
Top surgery will rot my lust?
Pregnancy will rot my brain?
Society rots us?
I am no longer sure which of us is more at home in the world, which of us more free (pg 52)
DREW LANDIS