THE THEATRE OF GLITTER; OR, THE MOTHERSTAGE IS COVERED IN GLOW-IN-THE-DARK JIZZ: AN ANTIMANIFESTO OF THE ANIMATED TEXT AS AN ALTERNATIVE TO THE THEATRE OF CRUELTY (PT. I)


(this is excerpted from a being I set loose on my theory & theatre class this morning. johannes’ post on artaud & snuff films inspired me to unleash it upon the internet)

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2. the aims & aspirations of the theatre of cruelty are analogous with the effects of  pastoral magic.

pastoral magic is that force which animates the corpse & fills its caverns with the refracted light of a liberated imagination (that is to say, glitter) so that it might convey to the spectator the experience of being one body entirely unified with the spirit of magic, which is by nature entirely pure, often manifesting musically or through a combination of melodic sound and an oversaturated geometry of color. pastoral magic is a natural alchemy. it is the world which we inhabit but it is the world from the other side of a screen. the other side is where the ritual of birth takes place, the magical act of animating a sign.

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animation is total synesthesia.

the animated text is a total reality analogous to all other possible realities. the animated reality is represented by an oversaturation of surface. everything in this reality exists only in relation to the aesthetic design of said reality.

absorption into this reality relies upon the body as a moving gesture composed in ink, through which a disembodied voice communicates, often through music or musicality.

because this experience is entirely synesthetic it is possible to experience the animated text in a such a manner that the reality of the experience is perfectly analogous to the experience of actual physical pain.

this is the very goal of the animated text. it is a medium upon which can be written anachronistic gatherings of disembodied voices and mute bodies, a meeting place for the disabled. for example –

in the disney version of sleeping beauty she knows prince phillip before they meet in time/space because they have met before in dreams, as specters. in the final scene, the hue of her dress changes constantly and systematically as a result of the imposed power structure of the affection of her fairy godparents, representative of the unwillingness to animate the glyph and just let it signify – it has to remain in a constant shift, because the root is a ghost and ghosts are pure media. because media  is always consuming and always excreting.

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5. “The image emerges when the surface oversaturates… Between the ‘binary ears’, the mush gelatin of brain matter, the registering specter also known as ‘trauma light’. Wave a hand through me, I am barely here.”

the image is that which signifies signification. signification can only be carried out by a body. the specter or ghost is the image without a body, pure excess of energy seeking to act upon matter but ultimately unable to do so; or, pure; or, nomadic; or, total – expenditure.

6. because a magic ultimately freed from physicality is the ultimate excess, so a language freed from signification is the ultimate excess.

in order to have excess one must have value which is to say there must be a unique & un-reproducible material to which all other materials correspond & can be compared, i.e., value is a “concrete conception of the abstract” (artaud).

the theatre of media is necessarily based on a system of consumer values. the plague is spread via these values, which infect the bodies & consciousnesses of the consumer/spectator

(it is no longer relevant to refer to the acts of consumerism and acts of theatre or their respective players as separate, as consumerism is the constant theatre)

with glitter which is the plague & the plague is an exit & material has to leave through a medium. the medium’s the thing & mum’s the scourge when it comes to cruel necessity.

 

 

children are a glitterplague & birth is a trauma which causes a wound which produces a body & which results in an opening. inside of the opening is a constant present tense. in her manifesto about the “future” of “poetry” joyelle mcsweeney posits that the present tense might be “a continuous interface with death,” possibly caused by the trauma of birth.

 

so birth as a screen; or, a  membrane; or, a filter out of which impurities like demons flow.

 

7. so, birth as the rosetta stone –

Aase Berg: “The mother’s relationship to the baby is the root of language, madness and complexity.” : or, the paintings in the guinea pig cave are dancing!

such an interface is occult, witchy, twitchy, attractingly-negative, feminine. the child appears like a sign of the plague, attached to but independent of the infected body. the mother is infected with the magic of writing, literally – her body is consumed by the act of writing the code of another being, replicating the code of the plague; her body puts on a giant costume which is made of itself and which signifies, absolutely.

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the only cure for motherhood is death. motherhood is the ultimate theatre of cruelty. the female body becomes the location & location itself as a result of natural forces acts through the mechanisms of a variety of other bodies within itself & the physical consciousnesses are subjected to tangible forces & the consciousnesses of the spectator/actor are fused with the creative force of nature to form a constantly expanding & reciprocal being which is necessarily disabled by its own apparatus.

9. the total experience of the theatre of cruelty is to be possessed & to be exorcized; or, to die. to die or be purified. to be a liberated sign suspended in the becoming, the marching fermata of the distended navel.

 


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