segunda-feira, março 28, 2011

a baroque portrait of meaninglessness celebrating theater

The space is non-representational and contains a wading pool, a beach ball, a chaise lounge and, up front, a couple of bar stools. The actors have full awareness of the audience. The baroque songs that intersperse the dialogue are delivered directly to it.

Paul Lum and Patrick Moffatt in Holiday by Ranters Theatre

...A holiday is often a place where we wait, reassess our goals and give ourselves time to think about what we wish and desire. The performers half-heartedly discuss future endeavors: Moffatt is trying to rid his life of extraneous material possessions and Lum is on the hunt for the perfect mug. The dialogue meanders and changes tact without warning. Dissertations on religion and society sit beside questions about hair waxing and observations about the length of fingers, with equal emphasis on both subjects. There was very little variation in the half interested politeness with which each performer received information from the other. Perhaps listening to a newly acquired travel companion's inane patter is better than being lonely a long way from home. But then again, maybe not.
[here]

...The conversations unfold with a Beckettian logic: they’re talking because they have to, because they can’t really stand the silence. But rather than philosophically provocative polysemy, the dialogue shifts from random anecdotes to comments on music to pretty much anything and everything you might randomly discuss with a chance companion at an airport bar. Every 20 minutes or so, one of the characters randomly breaks into song. Towards the end, a video shows a boat crossing the horizon.
[here]

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