Please note, due to an artistic and exploratory transition I'm undergoing currently with the Idylls, Poets Theater, and Poetics Theatre, I rarely update this blog - as you've surely noticed (last update last summer)! For more frequent updates related to all of my writing, please check out www.magusmagnus.com
& yet, as evidenced by the activity listed below, the march for Poets Theater and Poetics Theatre goes on. Plus, as a crucial component of said transition, I've been working on a new set of Idylls, evolving the form and techniques in mind of what theater and acting can uniquely do, and how perennially vital "the poetic" is to live performance. Idylls stalwart Harlie Sponaugle has been with me all the way, working at the level of the actor's spoken line to construct a first new Idyll, tentatively titled "Can't Let the Crazies Derail Us."
Here's what's been happening since last summer, 2014:
An excerpt from my conceptual theater/performance piece
drone: poetic monologue for monotone
(“Cognitive Machine Learning”
& CRS Poems for the People 1 &2)
appeared in Nerve Lantern: Axon of Performance Literature Issue 9
In my last entry dated 2 August 2014, I posted pics from the Nerve Lantern show at Medicine Show Theater in New York, where I performed the same selection. Now you can see the Video of that performance.
In that same post, I gave details on the then upcoming Boog Poets Theater night it was my pleasure to host and curate for the Welcome to Boog City Festival of Poetry, Music, and Theater 2014. Here are the vids from that event as well:
Part of my ongoing artistic exploration is to continue to try to define the qualities and practice of Poets Theater and Poetics Theatre, the latter understood as a subset of the former - purist definitions don't interest me, but the distinctions can make a difference when it comes to inspiration and creative urgency. Poetics Theatre consciously applies contemporary so-called "innovative" poetics concerns and issues to the interactivity of performance and language, with an affinity for the materiality of words and for the abstraction of "voice" and character. drone, as conceptual theater (as well as being a continuation by other means of the art of the monologue), might fall into this category more than the Idylls do so far, just as conceptual writing takes its place amidst "innovative" poetries for its next degree of abstraction from text.
As an outdoor voice "installation," my collaborative piece, CANAL PARK AMOEBAEAN SINGING, probably falls into the realm of poetics theatre as well; but again, the definitions don't seem to matter as much. Each of my collaborators fall into a different tradition of contemporary poetry. (& I consciously use the word "tradition" even when discussing innovative forms - since styles quickly congeal).
Performance/Performance curator: This Place Has a Voice
CANAL PARK AMOEBAEAN SINGING: Are Pastorals Idle in an Age of Corporate-Civic Structured Spaces?
(Magus Magnus voice composition for outdoor speakers)
eckClog 1: Nothing Missing Here But Song written and performed with Tony Mancus
eckClog 2: Corydon on the Street Corner written and performed with Casey Smith
eckClog 3: Rubber Snake in the Grass written and performed with Gowri Koneswaran
Plus, Performative Eater Jon Lee (curated by Magus Magnus)
Canal Park Canal Park Event Day
Washington, D.C. September 20, 2014
This piece will be published as chapbook from Furniture Press later this summer, now to be titled eckClogs.
Meanwhile, I still have the impulse to make the distinction when I describe another poetics theatre piece of mine emerging from immersion in very mainstream poetry and theater conceptions (this experience wasn't even poets theater, but theater theater of old school verse plays):
"Farce Rorschach Illumination"
came out of my being Valentine’s Day Poet in Residence, for "Poets Are Present"
during Shakespeare Theatre Company’s The Metromaniacs
a French farce in verse adapted and translated by David Ives
Washington, DC February 14, 2015
“Farce Rorschach Illumination” appears in the Poets Are Present Anthology
published nicely by Shakespeare Theatre Company; and again, the distinctions fall apart; the piece is experimental poetry in form, yet I consider it - like drone - on a continuum with my Idylls work.
Admittedly, a particular occasion induced me to develop some of these distinctions:
“8 Phases of Staring at the Sun," performance and presentation
for AWP panel Poetics Theater:a Textual and Theatrical Performance and Discussion
moderated by Kaveh Bassiri, with fellow panelists Rodrigo Toscano, Joyelle McSweeney, and Patrick Durgin
AWP 15 at Minneapolis Convention Center
Minneapolis, Minnesota April 10, 2015
Plus, please check out
“Type Bleeds Tentacles” a mesostic poem with recording
at Really System’s Really System Labs
which emerged under the direct influence of
“Polyphonic readings and harmonic listening of Cage texts”
my 3 hr performance installation in Litmore Library
with Christophe Casamassima and Chris Mason
for States & Drives II: Responses to John Cage
Baltimore, Maryland March 28, 2015
That polyvocalic performance brings us full circle back to eckClogs, for one event to announce here at least (after so many listed after the fact), CANAL PARK AMOEBAEAN SINGING redux for an upcoming Litmore fundraiser, June 13th: