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So when you say what kind of meanings are available that are asked the question individually. OK means are available. Do you think in your pieces. What kinds of meanings significances inspector come away with. I'd like to know what you mean by the word meaning. Do you mean like in the symbolic sense or or in any sense you wish that than any sense from Miller to you. There's a sense in which there's an autobiographical element 16 millimeter earrings and I can with that kind of meaning. Well that's what you've come away with. What I'm interested in is what I'm doing with the materials and how I'm structuring the piece and what I'm using. I'm not really interested in any content form separation at all and I'm interested in and any kind of message over and above the materials I'm using but they are they speak for themselves. They are a mess I see what you are dealing with.
Would this be considered a kind of intellectual mast of the Tory act I don't know. It's a kind of art it's a kind of definitions which come out of purely artistic concerns and pure of pure art has never been mastered to master only masturbation is west of guitar Yes pure art though is a semantic problem. And because I know this was put another way the kinds of concerns and meanings indigenous and soley indigenous to art. This is quite different from the kinds of meanings and certain indigenous to politics. Well I think going back to your question you pose in a biography to get what you want you have involved yourself with the materials and once you have completed the extent of your involvement or do you complete the extent of your involvement at any given time. Yes I try to. Definitely the pieces are set out with this particular piece was definitely said it was extremely structured and very very conceptually done so that
each piece of material was stripped down to what I felt was like the essential material side I tried to use nothing extraneous to what I was interested in doing visually and morally but I was also quite fixed to the point it took. It happened pretty much the same way. That's right and they were accused to be given to camera that's run on film that's right and that's wrong time wise. So in that sense it was a fixed state. Peace. But what I was interested in at that point and what I still am interested basically is changing if I can and dealing with perception. That's really what my main interest is changing and dealing with perception yes changing the perception as I was. Yes I would hope that people that had perhaps never seen this work before would leave with perhaps some realizations about their own perceptions. That's where I'm really involved with this tends to be what the new theatre as a whole is about it's about it's very pedagogical but I got to come in terms of what the arts have been pedagogical about which is teaching you to perceive to put together to put together things that don't
ordinarily seem to be together or to learn how to recognize order in which it first strikes you is chaos. The new theatre is not chaotic. It's exploring new forms of order and contrary forms of order. And I said before about cages is real cage may use life as a model I mean a maze and trying to duplicate the sort of life that he creates I mean it's very particular occasion piece instantly instantly recognizable as John Cage's piece because of the quality the heightened quality of its ordered disorder. Yes I say Richard is right we perceive so objectively and physically with our five senses. The five senses traditionally are known to be and I say historically and biblically are known to be unreliable. It already has its own disordered order and we look and I want to know what sense you mean reliable. I don't lie because if I if I touch your hand without your visual sense will any object or with my hand let's
say you don't see it. You can't really rely on your senses to tell you what it is that I'm touching you with. What if I put something if you close your eyes and I put something in front of your nose and I tell you that it's essence of mask and you cannot rely on your olfactory sense really to be accurate. You could have in fact train mile factory sense to the point that I could yes I could and there are people who have this kind of training. Unfortunately a factory education in our land is not very good. No it isn't but what you're talking about is the psychic extension the psychic extension which is what you really rely on to tell you what your factory physical sense or. But the point I'm really trying to get at is why do you all of you and presumably all of you do put so much faith and confidence or concern in this awareness of perception what are you trying to get the audience or yourselves to perceive differently. Let's start by perceiving this Saudia audience that we're
gauged with now which may or may not whatever may or may not be left of it. I think I think you're still with us. Let's let's let's let's take the situation just for the fun of it. We're talking here in a sense among ourselves be quantified theory is very much in evidence. There's a foot high microphone in front which is putting it on a spool of tape which won't be playing for another week. So our our contact with this audiences is fairly extenuated. We in fact then will become our audience will be sitting here and we can only thank God we can count on five. I am going to talk. Larry Magid is shaking his head again. Well I suppose you wouldn't listen anyway. So now the point is this. We expect that kind of hostility from the theater of mixed means people oh it's not unusual
and it's not OK which means that it is provoked. It seems to be a very very milliards of art. Let me let me push this a step further. We don't know there's nobody sitting there falling asleep that we can see we don't have any direct contact we don't know if we're getting through we don't know if all the people who turned on their radios speak Slavic. There is no there's no feedback that's directly available to us. Now there is some element in everybody that wants an immediate response to what they come across with I think therefore theatre in its most elementary form which is a personal confrontation of one person with another person or with a group of people will persist no matter how much technology descends upon us I think it says that there will always be something that moves along the ground even though there are plans and I think it's good. That
the fear that hangs in the air as a pall that hangs over any kind of theatre discussion the first question which is asked kind of on behalf of the audience is well will you destroy literary theatre or will the theatre as we know it no longer exist last ridiculous of course it will exist and of course it will be. Evil exists in all of forms and it's now available literary and dance that the problem is is is a little and I'd like to talk just for a sec to kind of clear the air and I have the feeling as we discussed this the different techniques are different. It's as if we threw open the door for people to listen in on to a group of scientists around the lunch table discussing their experiments in some detail the kind of cut we're taking at it is is very specialized. These things that we're talking about is very specialized and may or may not be depending on people's background and they may or may not be relevant to them they may omit on a stand what's at stake. Artists in their in their age
have to assume some responsibility for moving New York from the time they picked it up until the time that they leave it and on the way to has to go through some evolutions things change the Apocrypha change certain phenomena and confront them that they have to deal with and the techniques that were used to confront that may no longer be valid and so those who are living in the developmental end of it have to engage with these now what whether that engagement is interesting to anybody else or not is. It varies very much with the experiment and how much background there is and how much interpretation there is and how how it's presented. So one of the things to get out sort of on the table right away is the fact that the people in Richard's book The people that are sitting around this table are specialists of a certain particular sort. Engaging with.
Some of the problems which this particular era as presented in they've each taken off a different kind of a cut out of once you've said that. Then I think you can erase some of the disquiet over the conflict with literary theatre it's not it's not in conflict. It just is something else literary theatre may absorb it it may utilise aspects of it and it certainly will persist in some way and that's a kind of gets a few things. Was that I mean why and why did you do one kind of thing rather than the kind of thing yourself. OK now this is. I feel very strongly that the artist functions at least in one of his roles as a kind of a stalking horse. He gets out and draws fire. From the environment from this social situation and engages with it now. If he's in theatre he may attempt to share that with the public. He draws fire from from. Lets take the environment he
gets out in the street and attempts a dialogue with the environment or he attempts to deal with some aspect of the environment and then he may share that or make it available to an audience what the what the result of this combat is if if it's movement perhaps merit engages with a particular problem presented by the body the body can do certain things it can't do certain other things but is a share is the result of that combat or that engagement and that information which I think is another very important thing something that which I'm interested in and I think very many other people are which is actually fear as some kind of information. As a real piece of information to be given to people no matter who it was I don't know about you but there are also various kinds of information and there's news let's see I'd like to say let's simplify let's go back again to ballet. In one sense ballet engages with the problem of how much can you do on your toes. Now how how elevated how elevated an elegant
and refined can the human body be made to be. All right well now that probably more or less resolved itself and the limits of that are pretty well known at this time now a certain generation of dancers came along and said Well you know what hell spend a lifetime trying to find out what we already know let's try something else. What can the body produce if you take it internally you start with it's musculature and you take a completely different cut of the problem and it come up with fantastic solutions I come up with fantastic notions of the body which are already being applied and and I don't like it as a next step and what can you do if you are dealing with emotions but rule against using motions familiar to test things when what he is doing. And if you discover further possibilities we launch wanted to make a point that was made. Ok young Richard but then there's a whole other area about talking now is about motion about motion that doesn't even have anything to do with the human body.
Such is another area of mechanical kinetic mechanical connection motion organic nationalized. Yeah I'm not even thinking about nostrums I'm thinking about translate you know the translation of that kind of motion activity which exists outside of the human being and putting that back into the body and seeing whether the other is there you say. How do you know it's very how do you do that just by finding out movement principles the principle of motions you see and and that basically what is what you can find with working with the body is Principles of motion which exists not only in the human body but outside of the body as well. Have you very much the same as trying to as of dealing with sound. Instance how do you do. How do you as a dancer working in you know in movement take a motion outside the body and duplicate it. Well for example I just try to work with principles of motion like suspension I'm thinking about things like that which exists all over observing certain kinds of. Physical activities are
trying to translate them back. Let's create a little magnifying a little movement experience for our listeners I mean it's a completely random piece. Attention please. When you look around your environment and find something that moves the mouse provided it's safe to do so now would you attempt to imitate that movement. And suppose the answer is yes and the answer it isn't a question of answering yes the question is what is answered in the gesture. It's a non-verbal answer. Well suppose it is materialized and manifested by the way you pose presumably a question. All right well let's let's I think the best way to consider it now is to go to a few of the possible examples say someone is driving in a car and then they observe as Merritt said a crane going all right now. This presents a whole realm of decisions that don't have to be made.
Prepare a tour even to under to completing the action and stop the car you know. And then the sign another one after the crane are they going to try to deal with you know where it's safe to do so. If they're in a freeway around it that certainly isn't that the point is that you can very easily construct for yourself a situation where the decisions could be made. Present the body or the mind or the feeling with a whole lot of problems that have to be solved and some where when when these problems are solved I will translate this somewhat for our audience. Let's assume that there is dissatisfaction with literary theatre because the stated purpose of art for some people should be the solution to many of these principles that you're working on as individuals because the solution to many of these principles
will be a new perspective in terms of the individual's own existence or as something will happen to them right or something will happen to him when he enters this kind of situation where he has performed right. Let's do that let's reduce it to where it really is this is if we're talking. Stopping a car at two for no particular reason. Copy a crane it may be hard to think of it this is being a particularly important thing to engage with. Let's let's reduce it to its Really. We're talking survival when we're talking real theater. We're talking about survival survival of our our our race or survival of people or survival of a couple or survival of the individual survival on some basis that I think the the artist generally tries to progress his engagement to the level where the most that he can possibly put at stake is at stake you know if he pushes himself to the limits of his.
But isn't this an individual artist's purpose and is it the responsibility of. And I speak responsibility when I say this it seems that they what you're asking for is participation on the part of individuals. Audiences if you will are those who are there to see you. Well they must participate in order for you to derive a solution. We haven't we haven't gotten yet in this discussion really to the question of participation that we've been talking about essentially a series of theatrical approaches that could be appreciated. I mean you could sit there and watch it occur and in that way the experience would be shared now. The little example of our listener getting up and copping a most That's a participation they will be experiencing a very micro You know it's a very tiny example of what we're talking about but they will be engaging with it on a somewhat closer level to what we would be
doing then if they were just sitting there listening and they were just sitting there watching us. Now the point is is that that too has been progress. That too has been taken into its much more sophisticated forms. It's easier to talk about how it's been done historically because everybody feels much more relaxed about it. But let's take a festival you know or a pageant Mardi Gras. These are. Nobody thinks that that's particularly revolutionary and yet these are monstrous theater dance. They're mixed means events of a fantastic scale. And everybody participates in them as everybody gathers together to participate but also to observe that the others are done for the benefit of the audience it seems now that you're suggesting that most. Literary theatre attendees lots and we were restricted to theatre on a sort of sleeping state that they go through the motion of attending whatever they attend. And there are certain set responses almost like they're unconscious of that they were that
they responded to there's nothing new. Making them respond is no new stimuli that is really there are occasionally but I would find my own theater going experience which is Various that I think happens less so in a literary theater mostly because most literary theatre is concerned with us and before filling conventions in a lively way rather than exploring how to bust out of conventions. I wish we could move the discussion off the you know the question moving anywhere you live. Well that the whole problem of that versus this thing that we're talking about whatever on earth it is versus literary theater whatever on earth that is when you when you make up a comparative judgment of that sort it presupposes you have to take sides you know. You know you know yes you know and we're going they're unfair they're they're they're not they're not even gauged with each other. They're engaged with different problems. And so it's like.
Trying to state again does a car work better in an airplane well in France where you are. If you want to go in there under water no one particularly well how good do you do the participants in a theatre of mixed means know where they want to go. Oh yeah sure sure I think Dick has compiled a book of interesting conclusions from how many different benign people trying to register in a probable way the answer to that kind of question but are they interested in taking anyone with them. Oh yeah I was certain and then and there isn't anyone there who believes in a rarified origin when ordered to do this though it seems that gathering from reading some of the discussions to Richard in your book there's an indifference somewhat. And this is again an interpretation which brings out of another idea that you discussed for another book which I think is a very good one and that is sort of
the writing of tonality by symbols by means of codes and symbols to express the nuances of tone and writing so than anyone reading this would get begin to get enough. At least you have another dimension to the meaning going on because a spoken word yes as recorded in print. I am so I suggested that perhaps before as I said these chapters are conversations and I suggested that perhaps before every answer I should have assembled I would tell you in what tone the following was said to me is that you get understand which statements were ironic and which statements weren't. I feel very tense as time runs out that never going to manage to escape should one of the kind of important things that's that that is going on now. And let me put it this way this this notion of survival is the only reason I would present that as a thesis. The only reason that people are engaged in something as important as art should be is for the purposes of survive not its go to
ballet which we hoarded by their own of the survival of their audience or because like you I think it I think it I think it I think depending on how far out that's projected survival of humanity would be the most. OK now let's take ballet as an example of survival instinct. Ballet grew out of the what the court of Louis the Fourteenth. OK now if you wanted to survive in court you had to be able to do all the things that ballet you had to be grateful you had to be delicate you had to be hip to stand on your toes and to be able to do these things. Ballet was kind of an abstract crystallization of the techniques required to survive in that environment. We have a new environment. It's making new demands on us for survival. And so the theater is is is doing fantastic somersaults to get caught up with that. Now I think the theater has left the theater of survival has left the theater of survival of earlier ages. The theater of survival
now is the marches demonstrations. These kids locking up some you know some so that the university won't destroy something that belongs to Harlem. I think the new the new word that the stakes have changed and they've gone on to just a completely different terrain. But you quite freely scribing in applying the term theater to these. Actions are taking place. We I mean there is a great segment that is really not obliged to accept your semantics your terminology or frame of reference from which you choose to discuss this and for vote for that segment of the audience or that segment of individuals will have to have some interpersonal dealings with you or the results of your experiments you're working with in the brain that you are working. How will there ever be any way in which to
establish some language by which this can be given to make sense to a larger. But when you say language do you mean verbal critical language I mean verbal critical language I mean emotional language and I mean that in a sense it already has and here's an exact exact example of Expo was a perfect example of it making sense to the broadest number of people and nobody told them they were going to theatre. They went to a pavilion where the entire environment spoke to them so that the villian spoke about problems of the princes or something like that they were spoken to using all the techniques that we've been running a lot better in some cases they were the technology of OC You know so fantastic you see and people from the middle of the country from rural areas went through and there was there was no misunderstanding and these techniques were not alien to them. Maybe because it was put in the convention of display rather than a convention of theater.
Sure she would say so. And Iraqi around the fact of the pavilions there's a long background of which this art that we've been contributed has in fact contribute to that that experience made that maybe the result of that experience. We are running out of time. This is how it displays a medium then astuteness new theories influence not only the old theatre or not only people working out of the old theater people working in display display the pavilions may be the public face of exactly what we've been told is that it would interest me then it's where you go when most people most people who find new fare difficult are inscrutable go because they expect literary theatre they expect to do when you sit in that situation and you're told it's there you expect X to happen to you. But if you go to display your mind is more open to what might happen. Well I'm afraid I won't find out if that is it enough that our time is up and a very serious problem really has been discussed at this table whether
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Series
Seminars in theatre
Episode Number
Episode 26 of 31
Producing Organization
WNYC (Radio station : New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-rv0d0s4v
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-rv0d0s4v).
Description
Other Description
For series info, see Item 3231. This prog.: Repeat of 68-11-21.
Date
1968-07-02
Topics
Literature
Theater
Media type
Sound
Duration
00:27:17
Credits
Producing Organization: WNYC (Radio station : New York, N.Y.)
AAPB Contributor Holdings
University of Maryland
Identifier: 68-11-26 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:27:08
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Seminars in theatre; Episode 26 of 31,” 1968-07-02, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 13, 2022, http://americanarchive.org/catalog/cpb-aacip-500-rv0d0s4v.
MLA: “Seminars in theatre; Episode 26 of 31.” 1968-07-02. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 13, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-rv0d0s4v>.
APA: Seminars in theatre; Episode 26 of 31. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-rv0d0s4v