KQED Archive Footage (programs -- reel 4)

The. Few weeks ago a bomb exploded in the offices of solid Huron in New York. One person was killed. Police later said that the bomb was an apparent protest against the appearance of Russian artists in the United States. Artists like the great Soviet poet you have Guinea. You have to go. For like us again again. Again. Blood. Blood. Blood.

I walk through your rocks off by my side. There dignity on ARM. Two anecdotes of black humor two detectives guarding me. Two detectives guiding me. A Russian poet. Someone's portraits crunched underfoot. Something crunches in my heart as well are no longer when an innocent being paid for it with her life. Who are you. Murderer faces and bombing. Art winery Fineman a taste of art might be protected from you by the police. You are bastards. Today someone phoned Barry boys an okay guy a marvelous actor refused or it will be too late to appear tomorrow with a read commissar. Nevertheless you and I are alive. Very my old friend never left you and I are older than this girl. Cut down in this innocent secretary guilty of nothing. Poor Iris victim of the age you

fall in a fragile dark eyed Jewish girl suffocated by smoke as a Nazi gas chamber. It's hard to vent out poison there. The stench of Auschwitz and Bobby are charred cows were alive and here would they also call him commissar. How many friends of yours Solomon son of Israel in frames on your office walls and on the floor Stanislavsky with nearby half on fire. There where that dam went by somebody earrings. So a portrait of Shelley opon inscribed To you gave me some fresh air. It terrifies Second I must be out. What are the sins of poetry and music of accordions and violin

spaces are art songs and dances propaganda. Your anti Russian anti-Semitic anti-American. You want to play tricks you want for the house of art. As for the house of God. But I like it and happy for the feet. A ballerina put on your masks to fool the guards for the sake of a cheap thrill. Tomorrow is the night. Your gut boy struck strings and the day after to morrow into the fire rose above it. Damn yo servant job now to seek coexistence between people by building bridges I've got the right noises for you haven't the strength to muffle the explosions of love America honest America is rising to defend the our Russia. I sing a note to you. Angel art above the

madmen above the lepers live forever from the from people to people from winning scenes by fire. Same feeling in the Russian boom like noise noise noise rush rush rush. Yeah but if you so you look at that divide right here divide us. Yeah yeah yeah yeah.

So my own start up tours are cool. Yes and you boys OK break around the country now. Thank you Doris Yeah yeah

yeah yeah yeah yeah yeah. But YORK Let me tell you. What.

The rationale. She. Got.

Me. All right. Thank you so much.

Let me. Let's see what great artists of our time. Who else could fill the square and Russia with twenty or thirty thousand people here in retort. 1000 people out and others lined up in the street in New York. The Felt Forum to hear and read and I started already sold out at the College of foreign writers conference this Saturday and it projects on Sunday if you know somebody is not going to use their tickets but hit on hard because there aren't any more but

great artists with us tonight with us tonight. I first heard about this. Probably about two years ago after the publication of her some of her first diaries like probably a lot of other young women of my generation I'm about 27 years old I had looked around for women artists or writers as some kind of model who would say something that spoke to me and I was constantly being told about books that would answer all my questions and I would read them and put them in the fied and they'd be relevant for a week and then irrelevant. I heard about Manson even for a long time I didn't read her diaries which they're not for publication because I didn't want to be disappointed again. And I started reading them and I said what I think a lot of other young people have said. She's talking to me. The diaries are to me they're talking about the problems that I have been talking about my concerns and they

were written some of them were written 30 40 years ago. And for I'd like to introduce you to miss funny men and ask you I guess a very simple question to start with. You've written diaries over the past probably almost half a century and you've lived in New York and in Paris and you've spoken about yourself as a woman in your struggles and I could you just say for those of you who for those who haven't read you write you think probably the most important thing you have to say to women in those stars. Women should be themselves and find out. And this is the stuff I used to watch the plan and I have watched him and trying to go with obstacles and the difficult

things that count is when she wants to be everything to everyone that is expected to also be counted. Just to name them one by one. And it's for the women I think that we can watch it. You have spent a long time in psychoanalysis then your analysis yourself. You talked in one of your diaries toward the end of your analysis about having become a think you're becoming a thing. Are your patients one of the things that I've wondered today when we when we announced you were going to be on the air the KQED phones rang off the hook.

You knew because. I mean to the young people who are now reading your book and aren't you afraid that you're being a saint or no because simply they have been my dad. It's been composite and the composite is getting back to something which some other time. Before with commercial television going broke. This way you can make

sure it happens by getting on your telephone and you have about 30 seconds. Happens the number is 40000 to become a member of. It isn't exactly true that all the changes that happen occasionally are entirely for economic reasons. Just about 99 percent of them to give you an idea of the show from San Bruno count or Sampson County Jail in San Bruno last week which a number of you like cost you a thousand dollars to produce. Imagine how many memberships we need to do that in order to encourage you to become a member of the site's program we have a number of books you can get for $25 memberships you can get. Never Williams But Henry the Eighth in his court and relive the whole series which just ended. You can get Julia Child's Mastering the art of cooking this civilization is still around. A number of other books which you can find out about if you ask when you call it 6 4 2000 and you're calling now. Well give us some idea that you're there and tell us if you like this kind of programming.

And now reading instead of doing my own selection I am leading selections made by my friend John in a book called fries. I really dislike the I-Ching because he made the selection so that I feel are no longer mine although this time I need one big cosmic meaning. Oh there's only the meaning reach and individual meaning an individual thank an individual not a book for each person. We tried our best to annihilate the individual life but it is only a well integrated individual who has something to offer to collective life. To think that one remains young by not living not loving not not giving a spending away seeing oneself is a kind of artificial

preservation. The value of the personal relationship to all things is that it creates intimacy and intimacy creates understanding. And love conquers long leanness. People only unmask themselves in the privacy of love and friendship. One has to treat them with tenderness. Each is unique and we may never see another like him. We must protect him. I mean surely if we are to share his life. And I ask myself of the artist who creates a world of beauty to sustain and transcend and time is needed suffering these wiser than those who believe the revolution will remove the causes of suffering. If you live as a board the boy's duty is to maintain his power to create the mob by contagion.

That is the things that you read and if you mention the number of times throughout the novels and diaries and you seem to believe that change it's important is the change inside ourselves rather than belief in a political or any kind of political. But I'd like to know why you came to that conclusion. If you still believe that in 1972 and I still feel that the system is made up of human beings and that the system itself doesn't change the cruelty of man and that we have to begin again the creation and rebirth of a human being who would not commit such acts as a whole other. So I went back to the belief that we had to work on what the quality of the

human being first and that would ultimately of course affect the way that people for example who are struggling for survival. Poor people. Have The Time enough for the blog. It's not something that I began in childhood and I childhood to and I was the size of the hooded and thrown into a fine country without you know without it. But Congress seems to have been simply at the same time. I mean in our life we sustain these. Difficulties so that I had a very and I thought and and I don't know exactly how it was constructed. I had this in a way that opened home all the things that happened to the

quote you gave us saying the poet should create the marvelous and make it contagious. Is that your view of poetry. It's OK of course except my my. And what is art. It would be impolite. Now I'm sort of my new saw on the soft side

for his girl. He's wrong. When you when you read an article interview with you in which you said that when you did those kinds of poems you were almost writing as a journalist. Do I understand or did you feel the poems are almost journalistic and political statements rather than kind of my poems. It's my body these poems of course. But what

about your problems. But. Speaking of which is to attack it means to attack the cause. But then that's a man's way and I recognize that. And the woman's way. Perhaps she thinks you can. The cruelty that you can give a lesson of beauty and a lesson of tenderness and eliminate other methods by attacking it.

So both of. Us. Beautiful that some of the slobber on the fate of the woman have much in common with a horse. Town a great white beautiful woman who walks along a dirty noisy street. Every touch of this woman and

she walks always under threat of attack. Some of them the same thing happens with a poet but it was a sport of those in the same way they want to use him from all sides just to get used to the same thing happens for court. When you write a poem for a pregnant woman pregnant and giving birth you want to get on the one she was the closest to. A belief. And when he's finished writing like a woman who has just given birth and given something out. He's suffered. By it. But then the woman.

That's double suffering so much. The last woman is quite a woman. For that reason I don't like the word poet. Poet. Women and men. And. So I should be the name for the wife of course. At the Kaiser but force was less than woman.

That was a lesson the woman can give to the world at the Kaiser but it's the same struggle the same fight with philistinism with Phil as the same fight as the direct fight the direct conflict itself. How. Do you find a woman and a writer with constant conflicts when you have just a woman question because she's afraid of destruction. The connection of anger with the destructiveness is stronger than

woman so that she has a greater conflict. Attacking what you know is unjust and wrong. I mean she sees it but she doesn't know by what means to to attack it. Do you want to respond with You know with a why do. You stick with the most. Punishing. Do you find true in your writing. I mean you can't. Did you did you write them for publication. You know I think it wouldn't it wouldn't of been so honest. Because what I wanted. I mean did you have a sense of how much you could change people's lives with those books.

You know what I did was to begin with myself as a guinea pig and to pull down my own life and to myself. And once I was convinced of that then I was able to make the time that I had from my own experience and my own life as a woman. But I had to make you fam and I used to call myself my own. And it was all I could of that. You see the belief that that I could not only change myself and the change of people around me. And I could ultimately perhaps affect you know other for the writing. And I have to prove it. I'm so curious about what you said before though that the problem of destructiveness because I gather you can completely then wash a destructor. But I didn't do it that way.

No I don't mean that as an. Attack instead of attacking I wanted to change. You see differently which is ours to be. I have just said we can go a little bit longer which is fine. You might thank them by calling for joining going to the whole raft. Perhaps you could. It's not from you.

My girl. Goes along the sea shore. Blushing and she high. Tide rising in her one man rising in her she talks she takes off her shoes by the seat and steps into it as into music and she understands everything she doesn't understand a thing. Rasmussen makes a keen glance through us and then again withdrawn. This is my serious wide eyed beam and the roof of my mouth goes dry when her slender boyish legs heedless of some grown ups opinion bear her helplessly to me. And on the wet sand by a no vote with growing confidence like Mattias arms are from elbow to

rows. Her nails I put on my snorkel gear and my ship swims. Somewhere above me I search for my ship through the glass as if drunk among the crabs and flowers and I see in the bright green glowing in a bank of clouds above the underwater ridge. Her legs like white stocks fluttering submerged and I swim and swim in the underwater thicket and I swim my fins. That's in the water and I'm I'm happy because I'm happy and then happy because I'm I'm happy. What can I say. Then mother not to worry. How do you know my show. I ask so little of you and yet so much. Just that you exist in meditations

on death and eternity gripped by hope and melancholy. I look through your slender little heart as through a transparent pebble in the sea. That idea that you could. Really. Need. A. Lot of careers. But yeah. You know.

Yeah. But. Yeah. Yes.

It does. Yeah. Absent a lot of other shows a lot of spokesman spokeswoman for women's liberation most recently Gloria Steinem and one of the things we keep talking about is differences between a lot of time in the women's liberation movement talking about the equality of

a different kind of culture almost from today with all the confusion and conflict around Liberation about the role of women and particularly the role of women artists today. Is it to be as you like me or me me continued to say I think that we have to develop our own senses and sensitivities but we also have to find something we haven't found yet to. Handle the world without violence we have to be able to find the relationship to a peaceful relationship. And this I think is should be the task of woman how she's going to do it I'm not sure yet but I think there's a difference in the deepest thought a woman unconscious about a woman something that is not and that is not through violence.

It's become a tabloid the two of them or whether you agree with their cause or not they're more warlike women among the world leaders among the world's leaders. People are women. That I don't know any great and I can't. I know that women is going to find another way of living. Can you talk about the characteristics that make you. I think one is closer. I think she's closer to the body because she realizes the question is of a body that's been created. I have hope this is a utopian idea. This is just

what I hope women will do. I have no proof so I can say to you you know the women of India the woman of Israel has been less while you have not. My hope is that women will find another way. Because because a woman having to have a personal world and not to the major issues you know she hasn't spent her life out in the world as much as this has been a list of things but this has created how valuation how high valuation upon relationships and fund this they could become a new kind of humanism. Considering the pressures the life of a human being and no matter what he's idea what his religion what he's what his political beliefs. This is a hope this time stating as Utopia. I have nothing to go on except that I do think that sometimes when an insect wings are deprived of a

certain kind of expansion expand and the woman has expanded this personal relationship which may be as salvation. So that we won't look at men as presenting ideas presenting another presenting another section but as a human being. You hear talk like that or other people women in the Soviet Union talking the way that there is a special quality of womanhood that has to be injected. Well sometimes that's completely.

Of course. Of course that's a problem in our country. And you never forget.

But I think we don't speak about separate liberation. I think in many things are also not free. I think the liberation of women. Liberation life more than was usual.

Liberation. Like. This is impossible. But for women men I think there is a and. That's. Why we have people like.

You. All right I have one. I'm still not clear on the question I asked before are women talking about women's liberation. Of course. And like. And what are they saying. And I. Just. But what do you say to your wife. We are slippery.

I do things that you believe in it and I'm surprised the thing that I have to get that you support the liberation of other women other than your wife. If I have to just surprise me if it was one of the things I was physically curious about in here in the United States women's liberation has taken intact a lot of run in the political equality. The other is that the kinds of things that this new has been talking about women developing the characteristics that we have our intuitive

our inductive senses and those kinds of things been talked about in the Soviet Union about equality. Run the country. Many women come for positions. Unfortunately sometimes some of them do so much like

politics. The very first. Fight for equality between men and women. Now I think. I think. Woman man to. Bring her down. But I've always.

Wanted the mother. To actually run against women because women must. I think. By demystifying myself all the time in the day exposing my weaknesses my fear my anxiety. You know the way I mystified myself when anyone wanted to make

a mess. How different. Because. When I was when I was 20. I was given a Spanish which I had to.

I think because we had friendships and we didn't have to. Be picky. I might be lighting a different kind of twenty one point. When I couldn't think of a

different line. Hoping to catch up with the present but since I'm always writing I don't know. If you were considering giving up. Time. To change.

No. I have like a smaller. Front but

I want fries. Ever Have you ever wanted to write a diary. Because I'm. Not. But. You know what I know. This is not a question of

what you wish for it difficult to pull off. You look like you want to. I don't feel that I think it becomes a habit of truth if it begins early enough. Begin at the age of 11 it became almost an unconscious habit. And I would always do it under certain conditions at night. As you say when you're alone lying down with not a typewriter completely cut communion. And. As far as I have it in truth is when the Dow begins you include the best so now you want to be it includes the pretenses that very slowly disintegrate really as you learn to confront yourself and also to confront your relation to others because I don't want to give the impression that I thought I was very obsessed with relationship to others and the portraits of others and to be

I was repeated until I felt I had gotten the truth. And also there's a truth that you get the instantaneous impression which a man really does change. So you can come a little closer to what you found that being at that moment and I think that some guys have caught on but I'm defy explanation that he was really into it at that point I'm going to have to cut it off Larry. I want to thank you so much for coming down. Carolyn craven and Dr. Burke Tod you have you have to thank Oh it's been a tremendous evening. And I have to remind you again that there is a way you can show your appreciation and that's by calling right now 8 6 4 2000. That's a number of KQED and become a member of KQED and help us keep this kind of programming coming to you and if you join for $25 or more we have any number of books that the person at the end of the line one of the

volunteers upstairs will be delighted to explain to you the number again is 8 6 4 2000 to become a member of KQED. That's it for scan tonight. Thanks for watching. ME ME ME ME ME ME ME ME. Me.

All right. Janitors or guitars. Robbie and I still work. Ah when we get this again I think it's going to be really fascinating. We have great guitars ROBBIE BACH show it of course we have Marcel Marceau tremendously you're talk to and see and I know you are. Yeah. And I would have probably Basho is so sad he's going to be playing us steel guitar which has now become a confidence and I guess in the country and all over the world. And his first piece which I'm going to join in on the Asian. It's going to be like a like a draw. And so now

we have Robbie Bach. Or. Obviously back later on now I'd like to introduce you to Marcel Marceau he's probably the world's

greatest mean and everyone says that and I really hadn't seen much mean before until quite recently and then I saw Marcel Marceau and then I decided he had to be the greatest I couldn't imagine anything greater. He was born in Strasbourg and one thousand twenty three. And during World War 2 His father was executed and so he and his brother served in the French underground and he really didn't get his career started till after the war. He studied in Paris under the crawl and then after performing with other people he started his own company. And that's been Marcel Marceau to the world ever since he came to the United States in 1956 and did a television show. The first one which won an Emmy award is now on his eighth American tour. And I'd like you to give a warm welcome place to Marcel Marceau. Ah. I saw you in Sacramento last night are

not like you know Sacramento where I was an incredible barn of the place you were playing in the norm with them and I didn't even know people could see you and I knew you had them in your hands in a minute or so and then you got a standing ovation in Sacramento which is I think impressive right. Yeah I think people are the same everywhere. You find different. Sure when I was in the States I would say that you cannot tell their friends and I went through that. The public in Whiston because it takes us that tough and not so romantic I thought. I thought it was a fantastic public and I think that the people are going to see my people go to the theater have a conscious of wanting to see theater. And they know exactly what they're going to see and this is why in every

town I mean. Which you have to put three but because we know that if that we had really. The average men I would say the people who would not go to the theater especially who came you know people who because they saw me maybe on television on talk shows and they were maybe frightened of the beginning. I mean who doesn't talk what can you do. And finally they realize that mine like music like acting it's a medium a way of communication which is very important today because we live a very visual world and I think it has become part of show business if you run it with it this way in America and I was even surprised to see that at least the mind groups emerging in the States in campuses and you know in San Francisco you have my core

you have people who are very important in mind they do have a wonderful job. And in other towns there is a man called Julie Walker which is the group who is teaching lime and people young people especially beginning to be trained in my head that went about in his speaking up for what is one how does one train. Well Miami is a very engine form of art of course and I would say that my meds exist that as long men exist. Because of the need of representing the life of man of portraying the characters has built up with society of course but I would say that the first minus where in primitive societies the first dances were to present the religious symbols they explain the superstitions they worship God they put on masks and later among the Greek and Roman civilization especially the Greek one of the first human drama.

Greek mines with very tremendous. I don't know how they played because they did not leave any north side North Korean no division and the Romans. There were six mines in Rome when in Rome they were political. Very strong they made satires about the Senate. And imagine that you know and like the Senate where they where very controversial and that there were some minds have been exiled from the Senate. Why not and I want to know why without well he got it on top then you they cannot compromise too much in the sense that it will show and that they say what did you say. I said nothing. And people could feel it in their heart and they could become very satirical because just even later in the Shakespearean period in the theatre the miners were very important because they were representing little men the underdogs the people who who get

good Ph. Yeah the French Red who get the cheeks you know and can't express themselves and so they could cry out in Science of course and don't forget that the mimes have been very prosperous under the Emperor in a room on the net put on then through the French Revolution in 1789. The greatest mind in the 19th century was people with a white face and she was like Chaplin Keith and they thought he was representing the society of his time exactly like Moore Yeah or Shakespeare represent that time and also I want time exactly like to sign a few actors who are present in a certain way to our time and exactly as me the president as my time when we talked before you said there were certain moments ritualistic like things going on and we had some film and I wonder if we can. Well yes and I did defeat him in 64 in Paris. Where. I shall be in the streets of

Paris because babies of course mainly a character of the stage. That means that he dials you say this. Yes but and he dies with fiction. That means and none busybody world it becomes real no props. And an atmosphere of and is even visible. This is the magic of the theatre. Of course that two ways of making films you can just put the camera and show on the film what you're doing on stage. Or you can add that the medium of my feelin's like Chaplin and Keaton and Stoner and Hardy did which was a real feeling was real props we gotta go. They were realistic and very politically and stylized in the same way. But you can also do the kind of Veep we tried to take him from the stage and put him in the streets of Paris. Now fast in the first because us being able to reach there. There was an improvisation about what you do with your hands to express a

certain feel as a feat which relies on. And I was pretty naive The Indians had the mood about the cat and like the Africans have been kind to the Chinese and the Japanese. I think our Western civilization that we have. I was fine and there was a transcription a little of the mess about the mess shedding bread pouring wine which is what Christ did and it's a little thinking about him that I improvise for the coming of peace. He was so shall we say you know. In the beginning separated the light from the dark and he from the water and life. We have the result of a gesture.

He called

and. We are hungry. When the other says we are. He said

I am lying. How do you learn to move

40 positions of. 7 or 8. This is special just as we do say how do you do. Come here get it when you make a gesture to take to indemnify ourselves with props with props. We cannot even abstract the way you see and I think we could have occasion of movement. Of cake you know drinking wine putting on pressure of things you know. It was a fan you know and then you have to make them believe like people you know you know the need to live you know and then you make them live like people you know and everything lives you're going to love everything the most near the bloody street as a fee in one sense because you're going

to know that piece of grass the S and everything has a life and then you're going to use props head shoes and everything you do becomes a character and then you invent you with symbols and then you identify with a character a hero and it's tragic in a society which is subversive which is free or not free. Is that the case is about. Well and then I I did look in my in my in in in my show especially I developed two parts one iconic part in the film which is the side of my life and one called parting the beep beep being a character. A clown in a society is tragic and funny situations and departing the scene shows the side of the way of the densification with elements trees

wind water fire and their way of expressing satire justice tyranny. On a comic way and on a tragic way. No on a tragic way. I thought about a number called the cage which is. And men trapped with invisible walls will become smaller and smaller and he wants to get out just to find himself trapped in another cage. It's like life no life death. You know you're in a circular in a cage. This that which does not mean that fighting is not necessary. I think the wonderful thing about that is that men in this short amount of time live ones to create miracles and of course this is an adaptation also for fear on a stage that you wouldn't be aware of and he had to be adept at this stage to apply

outside Well just to make an experience about the dead patient of mine for a movie what to look at that. Ah.

Model going to be back and talk. Well that's all.

OK we're going to talk about and how the thread has been created in

47 and the name of BP comes from people because when I was 16 years old I read the great great expectations by Dickens and I like very much people and by the way people not people it's not specially French and I was very I was convinced that an international character is not bound to a nationality. Peter was French because he belonged to the 19th century to into the Victorian society where the nations where very much rigid and there was a French Piero that today I think he belongs to the world. And then he is about the would be American could be Russian could be German everything every kind of country and then I just kept the white face atop it and the flower. And I began to imagine him in the streets of Paris. Now Bieber has 40 adventures. He's a lion tamer. He's a skater. He's a soldier. He is bound to. To workshop you

loon when he dies in the society and then you can be tragic comic now reading also an experience with him first. We wanted to show it to the public that BP has been created in the streets of Paris. So the atmosphere of Paris the poison you know of the street even you could transpose this on stage it is no loss to you. But I wanted to show the roots and then you see BP emerging from the cities of Paris and then we improvise. I want you to know that with even the film we improvise you know where you put you 12 where Peter we did not. I don't know what's going to happen. We just said here is babe. They know Gene you will meet at the theatre man. So television but they did not know what was going to happen and they had to play with us and not to play. And you're going to see well how we improvise on the fare we just brought in the question that without question and we improvise

within a story a small story doesn't fly. All right. And what about it. OK. A. When Jeff had been in it you know

I think I have nothing to explain that picture. Looking for things like we have made a capital thing

because you know there is a pantomime. I do on stage and call the mask maker which is a story of a man who was seven to eight and he strapped on a laughing mask you cannot take off you know and the face has to play like a mask without a mask. And then I wanted to do that now more like it would on stage. Then the director said No massa we want to try to make an adaptation for the film. That means that you will begin to play like going on a stage in a small fan theater and then the movie in a mask is improvising in the streets of Paris. I meant that with a laughing face that you can think of and then we want to adapt and change the number from the classic the American public has seen it on television many times Ive done it on many shows but this is very different and we have done an adaptation since no lets see how it works.

You.

OK.

The thing is completely different from the stage because of the stage. If I would do it again I would do it really. I want to fit in my numbers as a record an instrument and I would like to have a few dignity of what I'm doing on stage really because the rhythm of the stage cannot be changed because it is a continuity it is a climax and this was an experience because I want to make films

Also I'm interested in films and I want to know how I could. Do Chaplin and Keaton did not do good they did something fantastic and nobody can surpass what they did. It's unique. But today if you want to put stand mine in in a movie I think it could work out something the public is much more prepared to understand. I want to ask you again what I'm asking for. How did you learn to use your face. Well you had I CAn't YOU HAVE YOU HAVE TO LOSE TO to lose. You have to use the face like a mask and you see I give an example. For instance you put on piece of music what is imparted in a composition the silence between the composition for instance you take Mozart or Beethoven or any course you hand to greatness. It's a combination between silence and music. Now in my time to save you then just to gestures you do gestures and then you stop

and you create through the silence. And music. Then when you play with a mass audience as if my face is like this neutral I put on one face they do. This is a book and this is important. And the transitions between laughing. And if it would do that but it would be just very nice because just to be mask another mask that. You have just to breathe out the breeze like a flower probably said. And just like music I like people and too few times when you're talking to people do you are you. You wonder whether you're putting on a mask or you can't you when I tell you something frankly I think that people in life put our masks. We are trapped in

different masks a mask of people crazy mask of being polite being nice. You find saying you know a thing like this you know yes attending you go to a high society party you know the for the know it's everywhere the same. Doing this and then at the back can they make. Thank you Jack. Happy to see you tonight. Thank you. And they forget it then. Nothing I do is exaggerated on the country I think that I don't do enough. You see what's happening in life is terrible wonderful Also I'd say and this is why it's worth living then I would say that the man if he doesn't think about putting on faces but there is one moment which is important. We are going to be left alone when they know and we are alone when we brought the moment becoming the world it's a big outcry and we normally die.

If you're going to like it or not it means that I wanted to show this minute of solitude where man is completely unknown with himself without my asking at all in a sudden moment of truth that I want to do. What today what is it that you can say with my right is that you say with my mic you wouldn't say he was saying what were you say was my everything you have not to say was words we can say with words or you have to say was mine what is impossible to say with words when you have very moved you don't you don't speak. Ection extreme situations don't need words and for instance how can you explain a cage. How can you explain the moment of study to the agony in the mass media at the moment of death or the moment of love when just you look and you don't talk and I think the moment even though you very often compare a mime to a better fighter at the moment of truth when he's very near the heart of the border and is going to not to know what's going to

happen really. And I think that in mind we have to choose option which showed deep emotions which of these were not what you think in your mind that people have to see immediately and on the other hand you have to express a certain that your city a skater who pretends to skate These knows and you and you think oh my god. I think those eyes. The stage that is know when they're going to win or he will represent 6 7 when he kind of goes in the split of a second leg a kind of catch your He's very often more or less some blunt than a portrait. If you look at the photography Oh it doesn't look like that in a kind of catch will say Oh have you seen his nose it plays like he is in those you see because he can't get us points. Oh like in a Chinese or Japanese drawing the essence. You mentioned love before and I want to go to the gone one character when he had it which was yet another layer can address one question first.

And is there nothing to do with what we're talking about why do mines wear white face. Well mines don't wear white if you do if you get my arms for instance if you take the Chinese mines they have special colors red blue and can tell us which represent symbols of that character. Ready and blue is pure and white is purity. You know the French people took up the white face I think part of the tradition of the Aryan as you as you you know even at the time of a tear we were very much influenced by the Chinese culture in the court to divide the great French as he does us and he sees you have the many stories from the extend well you know and then. And you have to think about conduit for instance and the right face is the face. The Frenchman used. The other characters like out of Queen Isabella had that question is not right for you and I put on

a white face because I am the main character is like people. Now when I had a company because I had a company for 10 years and we put on the Madrone as I did not use a white face when I played against You've each taken from the story of the overcoat by Google and when I did my other characters with my company I did not put on the white face of the Catholic that beat down one you don't want and then you know having some minutes left. Yes I was shocked Well I think we should look at. Oh yes but it would have to expand once you don't have the second always time pressure I see and that's it. Yeah and what not to an American is human enough to theater because I put on my own time. Yes. When I create the kind of the IBP can be daunting he can be anything on a stage a king a devil and a flower tree. But as any creator I loved

to play Dorian the man who not because it's not because another it's not joins a very tragic figure joins a man who was unknowingly like a worm and cannot adjust. He wants to be loved. He wants to possess and everything a caped escapes to him and the symbol of the door when the statue is just a symbol of men in flesh. If a mirror with a statue which survives him. And this is to show that men cannot challenge time and NAV has to be. Right because Live Love even love going to be preserved. You can be preserved in generations not in man he dies out one day with himself. That is a very interesting story. Character like powers why don't you shut tight again with me and not say that BP has a part of the Oreo has a part a house about a donkey shut. Here I have a paid. Door to door one evening at my show with I would like is a first bath is with me. Second part is only my

grandma and I take all the white space and I put on the character door and here I was showing a freedom how I had the idea of playing door you know being big and suddenly taking off the makeup to become the new Madrid that the character of daughter. Oh. Oh.

Hello.

Mark So it's been a treat having you are on this one. Thank you so much.

I hope to see you again in the theater. Well thank you. Thanks again for coming we're going to close by listening more. I would like to dedicate this music about. I want to close with the Japanese Sonata. You might already be you you know make you bite.

A dog.