tag:blogger.com,1999:blog-60886818037278222052024-02-20T11:49:14.756-08:00A Shared ImaginingMagus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.comBlogger47125tag:blogger.com,1999:blog-6088681803727822205.post-76702757799906543632016-03-02T06:55:00.000-08:002016-03-02T06:55:30.515-08:00Imagine You Because<br />
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The title is the piece or "poem"<br />
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Imagine You Because</div>
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Or, alternately</div>
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Imagine</div>
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You</div>
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Because...</div>
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Plus:</blockquote>
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You, because - Imagine! </div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-79689306249004427452015-09-30T09:22:00.000-07:002015-09-30T09:22:21.120-07:00SiGiLPAL logo<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiRkh7uhf6yK-rONoZXSp3fwm7mFrowJ_bIfqyK9_mhA-T_2z_aDtZ4VU-HCI7Y9D07AGKdxGlWRIqxnlvsZienUSfUbl1zTiFJ8rU1OpzDHfQKxDR_YSFnAXTU5TUt11x-sqobPBTCeLQ/s1600/SiGiLPAL+logo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiRkh7uhf6yK-rONoZXSp3fwm7mFrowJ_bIfqyK9_mhA-T_2z_aDtZ4VU-HCI7Y9D07AGKdxGlWRIqxnlvsZienUSfUbl1zTiFJ8rU1OpzDHfQKxDR_YSFnAXTU5TUt11x-sqobPBTCeLQ/s320/SiGiLPAL+logo.jpg" width="320" /></a></div>
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<span id="goog_2091758136"></span><span id="goog_2091758137"></span>Long time in coming, I've had occasion to devise the logo for SiGiLPAL:</div>
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<i>Sui Generis</i> Literary and Performing Arts Lab</div>
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(Originally, <i>Sui Generis</i> Literary Performing Arts Lab<i>, </i>but I did want to retain a free hand in multiple endeavors both literary- and performance-wise, and breaking out of any genre restrictions suggested by "Literary Performing Arts," much as that's a new genre needing to be defined notwithstanding the <i>sui generis </i>relation of these endeavors to and beyond theater and poets theater and poetics theater).</div>
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With SiGiLPAL as a performing arts lab, as mentioned in earlier posts, I continue to transition into a new batch of Idylls, bringing with it new variations on the forms and techniques. At some point, I expect to step up the lab's activities.</div>
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Meanwhile, on another front, I put together a Kindle book on the Free Spirit, as current concept and historical heresy, so finalized the sigilization of SiGiLPAL for the logo for the book... </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioloB2FGELX0PdefTlkj08x-HZggirNe_S09u0ASn6Nk79SrjHLXsxXJexiM34Vq3jK0jUdZ5tGBDvIK2me1LDBqroD1NjtTY-NHUOr7yPN1IQq0pNTuK9s7FawyJmvF95mxV_KHFEbVzN/s1600/SiGiLPAL+production+logo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioloB2FGELX0PdefTlkj08x-HZggirNe_S09u0ASn6Nk79SrjHLXsxXJexiM34Vq3jK0jUdZ5tGBDvIK2me1LDBqroD1NjtTY-NHUOr7yPN1IQq0pNTuK9s7FawyJmvF95mxV_KHFEbVzN/s400/SiGiLPAL+production+logo.png" width="400" /></a></div>
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Here the <i>Sui Generis </i>Literary <i>and </i>Performing Arts Lab functions in its <i>literary</i> experimental capacity, to produce the Kindle incarnation of <i>The Free Spirit.</i></div>
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Please click here to check out <a href="http://www.amazon.com/Free-Spirit-Unleashing-Individual-Constraint-ebook/dp/B015TNVYAW/ref=sr_1_1?ie=UTF8&qid=1443629402&sr=8-1&keywords=Magus+Magnus+Free+Spirit"><i>The Free Spirit </i>on Kindle</a></div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-32759632446530459612015-06-02T05:08:00.000-07:002015-06-02T05:17:17.437-07:00Update: 2014-2015 Links and Highlights<div class="separator" style="clear: both; text-align: center;">
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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 <a href="http://www.magusmagnus.com/" target="_blank">www.magusmagnus.com</a> <br />
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& 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."<br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://harliesponaugle.com/" target="_blank">Harlie Sponaugle</a></td></tr>
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Here's what's been happening since last summer, 2014:<br />
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An excerpt from my conceptual theater/performance piece<br />
<i>drone: poetic monologue for monotone </i><br />
(“Cognitive Machine Learning”<br />
& CRS Poems for the People 1 &2)<br />
appeared in<a href="http://www.pyriformpress.com/pyriform/catalog/" target="_blank"> </a><a href="http://www.pyriformpress.com/nervelantern/" title="Nerve Lantern Issue 9">Nerve Lantern: Axon of Performance Literature Issue 9</a><br />
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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 <a href="https://vimeo.com/113812586" target="_blank">Video</a> of that performance.<br />
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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:<br />
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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. <i>drone</i>, 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.<br />
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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).<br />
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Performance/Performance curator: This Place Has a Voice<br />
CANAL PARK AMOEBAEAN SINGING: Are Pastorals Idle in an Age of Corporate-Civic Structured Spaces?<br />
(Magus Magnus voice composition for outdoor speakers)<br />
eckClog 1: Nothing Missing Here But Song <i>written and performed with Tony Mancus</i><br />
eckClog 2: Corydon on the Street Corner <i>written and performed with Casey Smith</i><br />
eckClog 3: Rubber Snake in the Grass <i>written and performed with Gowri Koneswaran</i><br />
Plus, Performative Eater Jon Lee (curated by Magus Magnus)<br />
Canal Park <a href="http://thisplacehasavoice.info/event-day.html" title="Canal Park Event Day">Canal Park Event Day</a><br />
Washington, D.C. September 20, 2014<br />
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This piece will be published as chapbook from Furniture Press later this summer, now to be titled <i>eckClogs.</i><br />
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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):<br />
"Farce Rorschach Illumination"<br />
came out of my being Valentine’s Day Poet in Residence, for "Poets Are Present"<br />
during Shakespeare Theatre Company’s <i>The Metromaniacs</i><br />
a French farce in verse adapted and translated by David Ives<br />
Lansburgh Theatre<br />
Washington, DC February 14, 2015<br />
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“Farce Rorschach Illumination” appears in the Poets Are Present Anthology <br />
published nicely by Shakespeare Theatre Company; and again, the distinctions fall apart; the piece is experimental poetry in form, yet I consider it - like <i>drone</i> - on a continuum with my Idylls work. <br />
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Admittedly, a particular occasion induced me to develop some of these distinctions:<br />
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“8 Phases of Staring at the Sun," performance and presentation<br />
for AWP panel Poetics Theater:a Textual and Theatrical Performance and Discussion<br />
moderated by Kaveh Bassiri, with fellow panelists Rodrigo Toscano, Joyelle McSweeney, and Patrick Durgin<br />
AWP 15 at Minneapolis Convention Center<br />
Minneapolis, Minnesota April 10, 2015<br />
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Plus, please check out<br />
<a href="http://labs.reallysystem.org/Magnus.html" target="_blank">“Type Bleeds Tentacles”</a> a mesostic poem with recording <br />
at Really System’s <a href="http://labs.reallysystem.org/type-bleeds-tentacles-a-remixreallysystem-piece-by-magus-magnus/" target="_blank">Really System Labs</a><br />
which emerged under the direct influence of <br />
“Polyphonic readings and harmonic listening of Cage texts”<br />
my 3 hr performance installation in Litmore Library<br />
with Christophe Casamassima and Chris Mason<br />
for States & Drives II: Responses to John Cage<br />
Litmore<br />
Baltimore, Maryland March 28, 2015<br />
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That polyvocalic performance brings us full circle back to <i>eckClogs</i>, 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:<br />
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<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-38340512085896593072014-08-02T05:12:00.000-07:002014-08-02T05:12:12.231-07:00Boog this weekend, Nerve Lantern show 7/19, and Rain Taxi interview up nowThis Weekend!: Boog Poets Theater Night <br />
@ Welcome to Boog City Festival of Poetry, Music, and Theater 2014<br />
Sunday, August 3rd doors open 5:30pm<br />
Sidewalk Cafe, 94 Avenue A New York, New York<span class="userContent"><br />
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<a href="http://www.boogcity.com/boogpdfs/bc91.pdf">Boog 2014 program</a><br />
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I've had the pleasure to curate - and will have the pleasure to present tomorrow night - the following works...<br />
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334349" tabindex="0"><span class="aQJ"></span></span>Geoffrey Gatza, <i>Duchamp Draws Rrose Selavy</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334350" tabindex="0"><span class="aQJ"></span></span>Laynie Browne, <i>Tardigrade Play</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334351" tabindex="0"><span class="aQJ"></span></span>Joel Allegretti, <i>Confession?</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334352" tabindex="0"><span class="aQJ"></span></span>Carlo Parcelli, <i>The Gospel According to Simon Kananaios: a Meditation on Empire</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334353" tabindex="0"><span class="aQJ"></span></span>C. J. Ehrlich, <i>Ask Zsuzsanna: Single Motherhood at 50</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334355" tabindex="0"><span class="aQJ">7:15p.m.</span></span> Janis Butler Holm,<i> S_ _ T</i></span></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334356" tabindex="0"><span class="aQJ">7:20 p.m.</span></span> Ellen Redbird, </span><i><span style="font-family: Helvetica;">Seventh Half: an excerpt from Unrequited Symbiosis: a Mitochondrial Mistranslation & Underwater Opera</span></i></div>
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<span style="font-family: Helvetica;"><span class="aBn" data-term="goog_1069334357" tabindex="0"><span class="aQJ">7:35 p.m.</span></span> Joyelle McSweeney, excerpts from <i>Dead Youth, or The Leaks</i></span></div>
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Photos from <a href="http://www.pyriformpress.com/nervelantern/nl/performances/sparking-performance-photos/">Nerve Lantern show</a></div>
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<tr><td class="tr-caption" style="text-align: center;">here I am, reading <i>drone</i></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCkr9LpEb30DdgyAKxndizMofO1_qKtYpaR2kWdOc2pY7gcglSGgJTV_7yPfe0NOI_rcqEtrJuioezfInvFz-OHRAzAULTNNjdLlsd9sr6LfYTNVVbTUO_SFWmt5XSd4acnkMt28Ceduf/s1600/23photoNLshow7-19-14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKCkr9LpEb30DdgyAKxndizMofO1_qKtYpaR2kWdOc2pY7gcglSGgJTV_7yPfe0NOI_rcqEtrJuioezfInvFz-OHRAzAULTNNjdLlsd9sr6LfYTNVVbTUO_SFWmt5XSd4acnkMt28Ceduf/s1600/23photoNLshow7-19-14.jpg" height="320" width="240" /></a></div>
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<span style="color: #0000ee;">& </span>here's an interview on Rain Taxi with poet Jay Besemer<br />
much talk of Idylls and the imaginary in performance<br />
<a href="http://www.raintaxi.com/where-the-blur-occurs/">Where the Blur Occurs</a><br />
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<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-12801963860424473312014-06-23T05:50:00.000-07:002014-06-23T05:50:24.780-07:00Author Website Launch, and Ongoing Idylls<span style="font-size: large;">A Shared Imagining</span> <span style="font-size: small;">has been my chosen venue for announcing events and performances, and for discussing theater, poets theater and poetics theatre (specifically the technique of the Idyll), since the publication of <i>Idylls for a Bare Stage</i></span> - going on 3 years + now.<br />
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Meanwhile, my theatrical work is in context with a broader literary endeavor, and so at last I've launched an online go-to point for me as an author: <a href="http://www.magusmagnus.com/">www.magusmagnus.com</a> <br />
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Broader endeavor notwithstanding, this launch coincides with the start of a summer lined up to be predominantly focused on poets theater and performance:</div>
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I'll be performing “drone: poetic monologue for monotone" for a Nerve Lantern showcase on Saturday, July 19th at 3pm</div>
That's at Medicine Show Theater<br />
549 West 52nd Street, 3rd Floor<br />
New York, New York<br />
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This year I'm curator (and host) of Boog Poets Theater Night<br />
for the 8th Annual Welcome to Boog City Festival of Poetry, Music, and Theater<br />
That's Sunday, August 3rd; doors open 5:30pm<br />
Sidewalk Cafe<br />
94 Avenue A<br />
New York, New York<br />
<br />
Then after Labor Day, I'll be curator of performances (and composer of a doc text collage, or chorale, along similar lines as <i>drone</i>, but for four voices)<br />
for This Place Has a Voice<br />
Canal Park Arts Project (director: Bruce McCaig) Event<br />
That's Saturday, September 20th, twilight at Canal Park <br />
202 M Street, SE<br />
Washington, D.C.<br />
<br />
Beyond
my own work as poet and curator this summer, as a parent I'll be
immersed in my son Gryphon's entry into professional theater, featured
at age 8 as the only child in DEVIATED THEATRE's "creature," an original
dance opera by Kimmie Dobbs Chan and Enoch Chan.<br />
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"creature"<br />
premieres at the Ailey Citigroup Theater on August 8th, 7:30 pm<br />
405 West 55th Street<span class="locality"> </span><br />
<span class="locality">New York</span>, <span class="region">NY</span><br />
<span class="region">&</span><br />
<span class="region">comes to Dance Place September 27-28</span><br />
<span class="region"> 3225 8th Street NE</span><br />
<span class="region">Washington D.C.</span></blockquote>
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Yet, with all the indicated external activity, the creative process progresses internally, and somewhat invisibly. I'm in a transitional period with regard to producing showcases and presentations of work connected to the Idylls, and am beginning to develop a batch of new Idylls reflective of what I've learned over these years through rehearsal and performance. This blog has been an outlet for some of the real-time thinking and response to first applications of the theory of the Idyll for acting and theater; and now I'm ready to put such thought and experiences into a next evolution of the form.<br />
<br />
I'll continue to update here, mostly for event announcements pertaining to my Idylls and performance work, as well as with any irrepressible musings. <br />
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<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-11573471228907835882014-01-19T08:45:00.002-08:002014-01-19T08:48:32.435-08:00Upcoming: Murder at Happenings at the Harman, January 29th, noonDon't miss<br />
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<span style="font-size: x-large;"><i><span style="color: #990000;">Murder on the Bare Stage!</span></i></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">at Happenings at the Harman</span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">Wednesday, January 29th at noon - Bring your lunch!</span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">hosted by Shakespeare Theatre Company</span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">in the Sidney Harman Hall Forum</span></span></span></span><br />
<br />
Sidney Harman Hall<br />
610 F Street New <br />
Washington D.C. 20004<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwUYX_K3Y6_KzAmi3u_A3ka32VGBmHf6iOlbG3RDYdd69u2mqKNt-oxB0sUXFRLAWhXxHxhk6fszsv2yAKfOzYZsMSSIApup9dhiJAXA4-YNjEsfZVmZndSyvCJbd8kfEuwGLJB6qnyKc/s1600/FB+cover.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwUYX_K3Y6_KzAmi3u_A3ka32VGBmHf6iOlbG3RDYdd69u2mqKNt-oxB0sUXFRLAWhXxHxhk6fszsv2yAKfOzYZsMSSIApup9dhiJAXA4-YNjEsfZVmZndSyvCJbd8kfEuwGLJB6qnyKc/s1600/FB+cover.JPG" height="252" width="400" /></a></div>
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More Details here:</div>
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<a href="http://www.shakespearetheatre.org/events/details.aspx?id=352&source=l">Murder at Happenings</a></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">Information about the show is all over this blog, especially during the months connected to its "Must-See," 5 Star, "Best-of-the-Fringe"- rated run during CapFringe 2013 this past summer.</span></span></span></span><br />
<br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">Please check out collected reviews at the entry dated July 23rd, 2013.</span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">Great praise for star Stephen Mead, as well as for the Idyll form and approach. </span></span></span></span><br />
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">Highlights include:</span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> </span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">"Stephen Mead's name could be on that <br />shortlist of gifted-at-playing-crazies"</span></span></span></span><br />
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<span style="font-size: small;">"Brilliant character actor"</span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> “I experienced the idylls more as music <br />than as text... In the same way that a great <br />symphony can conjure a broad range of <br />emotions and even narrative without the <br />help of text, the sound was more intoxicating </span></span></span></span></div>
<div style="text-align: right;">
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> than the meaning of the words”</span></span></span></span><span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> </span></span></span></span></div>
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><br /></span></span></span></span>
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> “a fantastic opportunity to catch a brilliant <br />artist in an intimate setting.” </span></span></span></span><br />
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"Masterful"</div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> - Ben Cattell Noll</span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i>Washington City Paper</i></span></span></span></span></div>
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<br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i> </i>“Dark. Powerful. Mysterious. Magnetic. Suspenseful.”<br /><i><br /></i></span></span></span></span><br />
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">“avant garde masterpieces in the making </span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">by poet Magus Magnus” </span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> <span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> “Stephen Mead presents a truly </span></span></span></span></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">breath-taking and captivating </span></span></span></span></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">performance”</span></span></span></span> </span></span></span></span> </div>
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“allows one to return the very <br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">heart and essence of theatre<i>.”</i></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> “truly a ‘must-see’”</span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><img alt="" src="data:image/png;base64,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" /> </span></span></span></span></div>
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i></i></span></span></span></span><br />
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> -Veronique MacRae<i> <br />DC Metro Theater Arts</i></span></span></span></span></div>
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i></i></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i><br /></i></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i><br /></i></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> "Ambitious"</span></span></span></span></div>
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> </span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">“a tight series of works that blend <br />well together as a whole, while <br />remaining accessible to the audience.” </span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"></span></span></span></span><br />
<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"></span></span></span></span><br />
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;">-T. Chase Meacham</span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i>DC Theatre Scene</i></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><i> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGYnIhBwpDYXYzv_xevsXRVD7fKPj0xk_DY-D8HQWtKZFVCf0-n2iFp8dBN1lverz7GsiAQHztNm2bwyf82Z06vbXMezz0pR4_MGWPQhhGdgx6YD8Bkqa2MpC88J6_qs3Ax8NUe3qfMHA/s1600/MurderontheBareStage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzGYnIhBwpDYXYzv_xevsXRVD7fKPj0xk_DY-D8HQWtKZFVCf0-n2iFp8dBN1lverz7GsiAQHztNm2bwyf82Z06vbXMezz0pR4_MGWPQhhGdgx6YD8Bkqa2MpC88J6_qs3Ax8NUe3qfMHA/s1600/MurderontheBareStage.jpg" height="400" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen Mead</td></tr>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"><br /></span></span></span></span>
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<span style="color: #990000;"><span style="font-size: large;"><span style="color: black;"><span style="font-size: small;"> </span></span></span></span><i><span style="color: #990000;"><span style="font-size: large;"> </span></span></i>Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-76808250756811436172013-12-03T10:48:00.000-08:002013-12-12T08:45:06.105-08:00Performance Documentation, second half of 2013The second half of 2013 brought with it a number of Idylls-related performances, with most of the focus being <span style="font-size: small;">towards </span><i>Murder on the Bare Stage</i> at CapFringe and beyond. Below, you'll find a variety of pics and vids. <br />
<br />
But first, please note the forthcoming <b><span style="font-size: large;">Happenings at the Harman</span></b> performance<br />
<span style="font-size: large;">Save the Date:</span> <span style="font-size: large;">Wednesday, January 29th at noon, 2014</span><br />
<span style="font-size: x-large;"><span style="color: #990000;"><b><i>Murder on the Bare Stage</i></b></span></span><br />
<br />
Sidney Harman Hall Forum<br />
610 F. Street, NW<br />
Washington, D.C. 20004<i> </i><br />
<br />
This is an encore performance, in case you missed the show at CapFringe<br />
or during The Day of the Dead weekend in Baltimore and New York<br />
and - it's Free! <br />
<br />
<br />
<br />
<i></i> <br />
Meanwhile, some documentation of the Day of the Dead weekend:<br />
Saturday night in New York 11/2/2013<br />
Here is Stephen Mead doing <i>Murder </i>for <span class="userContent" data-ft="{"tn":"K"}"><span class="text_exposed_show">"Pop-Up Theater" @ Page 2, thanks to our hosts Tony Torn and Lee Ann Brown. </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://scontent-b-atl.xx.fbcdn.net/hphotos-ash3/p480x480/995553_10151749279025878_1040818067_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://scontent-b-atl.xx.fbcdn.net/hphotos-ash3/p480x480/995553_10151749279025878_1040818067_n.jpg" width="292" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen Mead</td></tr>
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<span class="userContent" data-ft="{"tn":"K"}">Friday night in Baltimore 11/1/2013<br /> Litmore's Day of the Dead Poets Society Soiree at the new Litmore Literary Arts Center, thanks to Julie Fisher, Christophe Casamassima, Douglas Mowbray hosts... photos by Douglas Mowbray.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://scontent-a-atl.xx.fbcdn.net/hphotos-ash3/556821_10202118687667066_919976610_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://scontent-a-atl.xx.fbcdn.net/hphotos-ash3/556821_10202118687667066_919976610_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">refraction of the imaginative realm captured by Mowbray's camera</td></tr>
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<a href="https://scontent-b-atl.xx.fbcdn.net/hphotos-prn2/q71/s720x720/1452085_10202118689747118_17379235_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://scontent-b-atl.xx.fbcdn.net/hphotos-prn2/q71/s720x720/1452085_10202118689747118_17379235_n.jpg" width="400" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Mead's shape-shifting rage </td></tr>
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here I am, taking it in<br />
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<a href="https://scontent-a-atl.xx.fbcdn.net/hphotos-ash3/q72/s720x720/1455200_10202118691107152_1440122583_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://scontent-a-atl.xx.fbcdn.net/hphotos-ash3/q72/s720x720/1455200_10202118691107152_1440122583_n.jpg" width="320" /></a></div>
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From earlier in the evening, here's the always-daring and hilarious Barbara DeCesare, triumphant <br />
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<tr><td style="text-align: center;"><a href="https://scontent-b-atl.xx.fbcdn.net/hphotos-prn2/q71/s720x720/1393609_10202118676986799_1708618585_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://scontent-b-atl.xx.fbcdn.net/hphotos-prn2/q71/s720x720/1393609_10202118676986799_1708618585_n.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Babs" with her play, <i>The Great Beyond</i></td></tr>
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In early August, in New York, Genna Davidson and I participated<br />
in Boog City 7 Poetry, Music, and Theater Festival, for its Poets Theater Event.<br />
A video of the whole Poets Theater evening, plus Major Matt Mason USA, is here:<br />
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<a href="http://www.gander.tv/event/sidewalk-cafe-boog-city-presents-major-matt-mason-usa-84-6pm-12am">Boog Poets Theater 2013 - Sidewalk Cafe</a></div>
<a href="http://www.gander.tv/event/sidewalk-cafe-boog-city-presents-major-matt-mason-usa-84-6pm-12am"></a><br />
Genna does the Antigone Idyll about 69 minutes into the video <br />
Note: I also appear, as an actor in Jesse Glass' play, about 103 minutes into it.<br />
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<br />
Okay, here's another angle on the Glass play<br />
titled <span style="font-family: Helvetica;"><i><span style="font-family: Verdana; font-size: medium; font-style: italic; font-weight: bold;"><span style="font-size: 14px;"><b>Poetic Fictions: A New Age Dawns At Longshoreman’s Hall, San Francisco, June 11, 1964! </b></span></span></i></span><br />
<br />
<span style="font-family: Helvetica;"></span> <br />
I'm Lew Welch<br />
and the play exemplifies poets theater as poetics theater - aligned with its mytho-historic content! - in celebration of a quintessentially American breakthrough-moment (and ongoing ontological practice) in contemporary poetry. <br />
<br />
You'll have a chance to hear Adam Tobin as Gary Snyder say, "Well, ever since I realized you don't have to write like an Oxford don to be a poet..."<br />
And I get to say, "This logomorphic resident / Intent on drawing National nourishment from National Buzz," as well as, "Hearse drivers like my hearse poems a lot."<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/S1th7Cp6IBo" width="420"></iframe>
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<br />
<br />
<br />
<br />
The videos below are from CapFringe, July 2013, in the venue at Caos on F in D.C.<br />
Stephen Mead doing his thing: these are clips from the bandit Idyll and the old soldier Idyll, along with his dramatic recitation of W.S. Gilbert's "Gentle Alice Brown."<br />
<br />
Of course, these clips from <i>Murder</i>, and the footage of Genna Davidson's Antigone above, capture neither the intent nor the aimed for effect of the Idyll approach: to do something only live theater can do these days... deeply connect with the audience, and indeed, create a shared imaginative space with artist and audience together, mind to mind, human to human. The videos don't record the mental and imaginative layers of performance so central to the concept of the Idyll form. Still, perhaps there's something suggestive here of what goes on within the theatrical "magic circle" of an Idylls performance - and certainly, both with Genna and Stephen, you'll get a sense of their professional polish, their talents, skills, and intensity. <br />
<br />
<br />
Bandit<br />
<iframe height="385" src="https://docs.google.com/file/d/0B-ZI3HhpXK_UOVVrbVlsV3ZYNTg/preview" width="640"></iframe>
<br />
Gentle Alice Brown<br />
<iframe height="385" src="https://docs.google.com/file/d/0B-ZI3HhpXK_USlhEUXpzRW5IbGs/preview" width="640"></iframe>
<br />
Whitman's Old Soldier <br />
<iframe height="385" src="https://docs.google.com/file/d/0B-ZI3HhpXK_UeEQybUdTdUpUQUk/preview" width="640"></iframe>
<br />
<br />
<br />
Don't miss the next - free! - showing of<br />
<b><span style="color: #990000;"><span style="font-size: large;"><i>Murder on the Bare Stage</i></span></span></b><br />
lunchtime (12 noon) - I mention lunchtime, because you can actually bring your lunch<br />
on Wednesday, January 29th, 2014<br />
<span style="font-size: large;">Happenings at the Harman </span><br />
Sidney Harman Hall Forum<br />
610 F. Street, NW<br />
Washington, D.C. 20004<i> </i><br />
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<br />
<br />
<br />
<br />
<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-83903627882475965892013-10-24T11:54:00.000-07:002013-10-24T11:54:10.219-07:00Day of the Dead Weekend: Baltimore and New York<i>Murder on the Bare Stage</i> starring Stephen Mead will travel for the post-Halloween weekend, two dates in two cities: Baltimore for the Day of the Dead Poets Society Soiree to benefit Litmore, a new literary arts center; and then New York for Pop-Up Theater @ Page 22, hosted by actor and director Tony Torn and poet Lee Ann Brown at their salon in Chelsea.<br />
<br />
<br />
<span class="userContent" data-ft="{"tn":"K"}">Baltimore, Friday November 1st, 7pm<br /> Litmore's Day of the Dead Poets Society Soiree<br /> at the new Litmore Literary Arts Center<br /> 1702 South Road <br /> Baltimore, Maryland 21209<br /> <br /> and<span class="text_exposed_show"><br /> <br /> New York, Saturday November 2nd, 8pm<br /> "Pop-Up Theater" @ Page 22 <br /> 435 West 22nd Street<br /> New York, New York 10011</span></span><br />
<br />
Both nights we will presenting versions of the show presented at CapFringe 2013:<br />
<br />
<span style="font-family: "Courier New"; font-size: 11pt;">described by one reviewer as “a return to the very heart and
essence of theater,” <i>Murder on the Bare
Stage</i> combines writer Magus Magnus’ approach to the Idyll(theater of imagination)
with actor Stephen Mead’s steampunk, daringly retro style of Victorian-era dramatic
recitation for a scary, suspenseful entry into new and classic works exploring
the mindscape of violent crime.</span>
<br />
<span style="font-family: "Courier New"; font-size: 11pt;"> </span><br />
<span style="font-family: "Courier New"; font-size: 11pt;">DC Metro Theater Arts rated the show “Must-See,” 5 Stars, and
“Best of the Fringe” during its popular CapFringe 2013 run, and Washington City
Paper declared star Stephen Mead’s performance “masterful.”</span><br />
<br />
Please see this blog's summer archives for complete reviews.<br />
<br />
<span style="font-family: "Courier New"; font-size: 11pt;"><span style="font-family: inherit;">for Baltimore: </span></span><br />
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Join the Litmore Facebook event </div>
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<a href="http://LitMore's Day of the Dead Poets Society Soiree ">LitMore's Day of the Dead Poets Society Soiree </a> </div>
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for New York:</div>
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Check out the Page 22 website</div>
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<a href="http://page22nyc.wordpress.com/2013/10/24/pop-up-theater-page-22-halloween-special-event-murder-on-the-bare-stage-saturday-november-2nd-at-8pm/">Page 22 Halloween special</a></div>
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Join the Page 22 Facebook event</div>
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<a href="http://www.blogger.com/Pop%20Up%20Theater%20@%20Page%2022:%20Halloween%20Special%20Event!%20MURDER%20ON%20THE%20BARE%20STAGE">Pop Up Theater @ Page 22: Halloween Special Event! MURDER ON THE BARE STAGE </a> </div>
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<span style="font-family: "Courier New"; font-size: 11pt;"> Hope to see you here or there!</span><br />
<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-21406807212001698572013-09-26T11:15:00.001-07:002013-09-26T11:15:20.597-07:00Fall Events<b><span style="font-size: small;">Stephen Mead </span></b>will appear at the Barracks Row Fall Festival on Capitol Hill this Saturday, 2:30 pm.<br />
He will perform my Idyll, "A Street-Merchant Imagines His Riches to Come" from <i>Idylls for a Bare Stage</i>. Performances have been arranged by Hannah Hessel who runs Happenings at the Harman as audience enrichment manager for Shakespeare Theatre Company. STC has administrative offices and rehearsal spaces on Barracks Row - Stephen will conjure up the runaway fantasies of an Arabian Nights street-merchant in one of the rehearsal halls for this festival. This event is in conjunction with Arts on the Hill.<br />
<br />
<div style="text-align: center;">
<a href="http://www.barracksrow.org/on-the-row/193-barracks-row-fall-festival-9-28-2013">Barracks Row Fall Festival</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
I won't be there - about to hit the road for a 12 city/14 day reading tour with Furniture Press Books, publisher of my <i>Heraclitean Pride </i>(2010) and <i>The Re-echoes </i>(2012). <br />
<br />
<div style="text-align: center;">
</div>
Then<i> </i><b>Mead </b>and I will prep for a <span style="color: #660000;"><span style="color: black;">traveling </span><b><i>Murder on the Bare Stage</i></b> <span style="color: black;">weekend just after Halloween. Friday night, November 1st in Baltimore, the 1 hr version we did for CapFringe will be part of </span></span><span class="entity _586o" data-fulltext="LitMore's Day of the Dead Poets Society Soiree" data-group="all" data-icon="null" data-select="group" data-si="true" data-text="LitMore's Day of the Dead Poets Society Soiree" data-type="ent:event" data-uid="230891967060910">"LitMore's Day of the Dead Poets Society Soiree</span><span data-si="true">" - a fundraising gala for a new writers' center in Baltimore. Then the next day we're heading up to New York to do it again for hosts Tony Torn and Lee Ann Brown at their salon in Chelsea. Details to come!</span><br />
<span data-si="true"><br /></span>
<span data-si="true">Meanwhile, the Furniture Press Books tour won't be glamorous (going by rental van, much couch surfing), but will be fun and grueling - grueling-fun, and endless literary performance / poetic immersions. Eating, sleeping - nourishing, reposing on - poetry. With a reading every night, I think for the first time I'll try my hand (& voice) at doing an Idyll myself - just a reading, not the full technique of the Idyll I request/require from actors. Probably the Palamedes...</span><br />
<br />
That, and I'll grow a beard for the first time.<br />
<br />
Here's our itinerary, straight from the Furniture Press website:<br />
<div class="postContent">
<h3 class="entry-title">
<a href="http://furniturepressbooks.com/2013/08/07/3000-miles-12-cities-14-days-and-a-bunch-of-other-interesting-numbers/" rel="bookmark">3000 Miles. 12 Cities. 14 Days. And a bunch of other interesting numbers.</a></h3>
<div class="entry-content">
<h2 style="text-align: center;">
September 27, 2013</h2>
<h2 style="text-align: center;">
10 P.M.</h2>
<h2 style="text-align: center;">
The Poetry Project at St. Mark’s Church</h2>
<h2 style="text-align: center;">
131 E 10th St, New York, NY 10003</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
September 28, 2013</h2>
<h2 style="text-align: center;">
12-7 PM</h2>
<h2 style="text-align: center;">
“100,000 POETS FOR CHANGE”</h2>
<h2 style="text-align: center;">
Highwire Gallery</h2>
<h2 style="text-align: center;">
2040 Frankford Ave.</h2>
<h2 style="text-align: center;">
Philadelphia, PA 19125</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
September 29, 2013</h2>
<h2 style="text-align: center;">
4-8 P.M.</h2>
<h2 style="text-align: center;">
PRESS > PLAY</h2>
<h2 style="text-align: center;">
Peabody Heights Brewery</h2>
<h2 style="text-align: center;">
401 E 30th St. Baltimore, MD 21218</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
September 30, 2013</h2>
<h2 style="text-align: center;">
Salon at Carmel, NY</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 1, 2013</h2>
<h2 style="text-align: center;">
5 PM </h2>
<h2 style="text-align: center;">
Pace University at Pleasantville</h2>
<h2 style="text-align: center;">
861 Bedford Rd.</h2>
<h2 style="text-align: center;">
Pleasantville, NY 10570</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 2, 2013</h2>
<h2 style="text-align: center;">
8 PM</h2>
<h2 style="text-align: center;">
YES! Reading Series</h2>
<h2 style="text-align: center;">
Albany Center Gallery</h2>
<h2 style="text-align: center;">
39 Columbia Street</h2>
<h2 style="text-align: center;">
Albany, NY 12207</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 3, 2013</h2>
<h2 style="text-align: center;">
7 PM</h2>
<h2 style="text-align: center;">
Tully House</h2>
<h2 style="text-align: center;">
601 Tully Street</h2>
<h2 style="text-align: center;">
Syracuse, New York 13204</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 4, 2013</h2>
<h2 style="text-align: center;">
7 PM</h2>
<h2 style="text-align: center;">
Rust Belt Books</h2>
<h2 style="text-align: center;">
202 Allen St </h2>
<h2 style="text-align: center;">
Buffalo, NY 14201</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 5, 2013</h2>
<h2 style="text-align: center;">
7-9 PM</h2>
<h2 style="text-align: center;">
Annabell’s Bar & Lounge</h2>
<h2 style="text-align: center;">
782 W Market St</h2>
<h2 style="text-align: center;">
Akron, OH 44303</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 6, 2013</h2>
<h2 style="text-align: center;">
7 PM</h2>
<h2 style="text-align: center;">
Spudnik Press Cooperative<br />
1821 W Hubbard, Suite 302<br />
Chicago, IL 60622</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 7, 2013</h2>
<h2 style="text-align: center;">
7 PM</h2>
<h2 style="text-align: center;">
microlights</h2>
<h2 style="text-align: center;">
2541 Bremen St</h2>
<h2 style="text-align: center;">
Milwaukee, WI</h2>
<div style="text-align: center;">
<br /></div>
<h2 style="text-align: center;">
October 8, 2013</h2>
<h2 style="text-align: center;">
6:00 PM</h2>
<h2 style="text-align: center;">
Prairie Lights Bookstore</h2>
<h2 style="text-align: center;">
15 South Dubuque St.</h2>
<h2 style="text-align: center;">
Iowa City, IA 52240</h2>
</div>
</div>
Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-25111631511532176862013-08-03T16:10:00.000-07:002013-08-03T16:13:11.698-07:00From Fringe to BoogLast Saturday <i>Murder on the Bare Stage </i>had its final performance for CapFringe<i>, </i>and this evening I'm getting ready to head up to New York with Genna Davidson for the Boog Poets Theater event tomorrow evening, part of Boog City 7 Poetry, Music, and Theater Festival. Genna will do the Antigone Idyll.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUG6Ps43wRtaE7J0uQpbUUEzS7YTwAZK_317t1wLS3LGUz42VibdwBcQXlXNHbmxoEGIdABkcoYqvnTSrKbIgujgMgT5m_erVpqYsY9Xn-ThKj6DoZv7BIgLWsQ3DRl6ozXnzMvsboQpp/s1600/GennaBeth.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUG6Ps43wRtaE7J0uQpbUUEzS7YTwAZK_317t1wLS3LGUz42VibdwBcQXlXNHbmxoEGIdABkcoYqvnTSrKbIgujgMgT5m_erVpqYsY9Xn-ThKj6DoZv7BIgLWsQ3DRl6ozXnzMvsboQpp/s400/GennaBeth.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Genna Davidson</td></tr>
</tbody></table>
During the Fringe, before our second <i>Murder</i> show on Wednesday, July 17th, Genna gamely performed "Antigone Buries her Brother's Body Against Orders of the King" guerrilla-style, around the corner from Fort Fringe and all the goings-on under the Baldacchino Gypsy Tent. On 6th street, in a driveway just above New York Avenue, in front of a green door with a graffiti helicopter on it, she "held high the urn of finely-wrought bronze" and invoked the Goddess Justice amidst the thick atmosphere of teeming, steaming D.C. streets and sidewalks, connected in point and line to the Capitol Dome and government monuments, presences as vaporous as mirage. At least tomorrow night, in the East Village's Sidewalk Cafe, she won't have to contend with the noise of traffic, although it's likely we'll be facing a rowdy Boog crowd.<br />
<br />
Incidentally, on the lineup for the evening, I've been called on to play Lew Welch, on book, in Jesse Glass' Poets Theater piece "Poetic Fictions: A New Age Dawns At Longshoreman's Hall, San Francisco, June 11, 1964!" along with other poets playing poets Gary Snyder and Philip Whalen. We're to sit around a table talk-show style, with moderator (also played by a poet), and<br />
SCRATCH<br />
THE TRUE FACE OF A MOTH<br />
INTO A BLACK SURFACE<br />
W/A PIN<br />
<br />
THE LINES GLOW & CONNECT<br />
THE LINES GLOW & CONNECT<br />
THE LINES GLOW & CONNECT<br />
<br />
until "the water jug is way past empty."<br />
<br />
[as quoted from the Glass piece]<br />
<br />
<br />
Here's a link to a notice and schedule of the festival as a whole<br />
<div style="text-align: center;">
<a href="http://boogcity.com/flyer.wbc7.pdf">Boog City 2013</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
And Poets Theater Night begins at 5:30 pm, Sunday August 4th (tomorrow)</div>
<div style="text-align: left;">
Sidewalk Cafe</div>
<div style="text-align: left;">
94 Avenue A<br />
New York, New York 10009</div>
Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-76742777404009084272013-07-23T07:30:00.000-07:002013-07-23T13:36:02.398-07:003 More CapFringe performances, collected reviewsIt's the last week of the 2013 Capital Fringe Festival, and we've had quite a run, fun and instructive, with gratifying audience responses, good energies from the crowds, a sold-out show last Saturday, and rave reviews.<br />
<br />
Luckily, I continue to follow Heraclitus in expecting the unexpected, so I'm ready to accept such happy surprises for this offbeat collaborative mix of my approach to the Idyll form as a technique for acting and theater and Stephen Mead's steampunk, daringly retro style of Victorian era dramatic recitation.<br />
<br />
I'm posting two of the reviews in full here, because they do reflect the original intentions of the show, and give words other than my own to so much of what has been communicated on this blog.<br />
<br />
We went into last weekend with a great review from Ben Catell Noll at Washington City Paper.<br />
<br />
<div style="text-align: center;">
<a href="http://www.washingtoncitypaper.com/blogs/fringe/2013/07/19/hip-shot-murder-on-a-bare-stage/">Murder Hip Shot City Paper</a></div>
<div style="text-align: left;">
<br /></div>
<h2 class="content_header_small">
<a href="http://www.washingtoncitypaper.com/blogs/fringe/"><img alt="Fringe & Purge" border="0" src="http://www.washingtoncitypaper.com/images/site/blogs/blogheaders_fringe_small.gif" /></a>
</h2>
<h1 class="title">
Hip Shot: <i>Murder on a Bare Stage</i></h1>
<div class="byline">
Posted by <a href="http://www.washingtoncitypaper.com/blogs/fringe/author/bencattellnoll/" title="Posts by Ben Cattell Noll">Ben Cattell Noll</a> on Jul. 19, 2013 at 5:30 pm</div>
<div class="entry">
<img alt="" class="alignright size-medium wp-image-9233" height="168" src="http://www.washingtoncitypaper.com/blogs/fringe/files/2013/07/murder-300x168.jpg" width="300" /><b>Caos on F</b><br />
<b>Remaining Performances:</b><br />
Saturday, July 20, 2:30 p.m.<br />
Sunday, July 21, 8:45 p.m.<br />
Wednesday, July 24, 10:15 p.m.<br />
Thursday, July 25, 7:00 p.m.<br />
Saturday, July 27, 8:00 p.m.<br />
<b>They Say: </b>"Nail-biting and nerve-wracking. Actor
Stephen Mead (London’s Royal Academy of Dramatic Art-trained) combines
his specialty in dramatic recitations of Poe and Dickens with poet Magus
Magnus’s approach to theatre of the imagination, for classic and
avant-garde thrills and chills."<br />
<b>Ben's Take:</b><br />
"Brilliant character actor" can sometimes feel like a backhanded
compliment. It suggests that while I thought your performance was great,
I'd never accept you as Hamlet. When given a chance to do bat-shit
crazy, though, there are a few performers—<b>Willem Dafoe</b>, <b>Tim Curry</b>, and the inestimable <b>Christopher Walken</b>- who consistently knock it out of the park in a way that the <b>Brad Pitts</b> and <b>George Clooneys</b> of the world never could. Watching <i>Murder on a Bare Stage</i>, I get the sense that <b>Stephen Mead's</b>
name could be on that shortlist of gifted-at-playing-crazies, had he
not forsook the world of spectacle and mass consumption for a
stripped-down, poetic approach to live theater.<br />
Mead quite literally bursts onto stage with one such role in the
idyll "A Bandit Plots a Murder by the Road." All raspy whisper, harsh
consonants, and bulging neck veins, he curses the sky and plots revenge
creating a sinister character that transports viewers off the eponymous
bare stage and onto the moonlit streetscape. Sans props, lighting cues,
or sound effects, Mead aims to facilitate the audience in a "shared
imagining" that fills in the gaps. It's a lot to ask from one man's
body and voice, but he more than meets the challenge.<span id="more-9093"></span><br />
The show is a collaboration between Mead and local author <b>Magus Magnus</b>.
Magnus specializes in the idyll form, which I knew nothing about
coming into the show but which was helpfully explained in detail in
thoughtful program notes. Essentially, it is a type of poetry written
to be spoken rather than read and relies on the audience to use their
imagination to provide the details typically shown through props or
costumes to more fully immerse them in the thoughts and world of the
character.<br />
I experienced the idylls more as music than as text. If not for the
extremely descriptive titles Magnus lends to his work I might be
hard-pressed to recount specific details of some of the scenes, but they
are hardly the point. In the same way that a great symphony can
conjure a broad range of emotions and even narrative without the help of
text, the sound was more intoxicating than the meaning of the words.
Magnus has chosen a master literary musician as his collaborator who
brings out the best in his work.<br />
The most concrete piece of the evening, however, is also its most
masterful. Mead's professional specialty is in recreating "dramatic
recitation" performances popular during the Victorian era, similar to a
live version of a 1940's radio program or an audio book we might listen
to today. A primary focus is on the work of <b>Charles Dickens</b>, and the evening I saw the show he performed a selection from <i>Oliver Twist </i>(note: Mead alternates this centerpiece performance with a recitation of <b>Edgar Allan Poe's</b>
"Tell-Tale Heart." If you want to see him do Dickens, go on July 21 or
25. For Poe, catch the show on the 20th, 24th, or 27th).<br />
There's plenty of the same demented rasp and frenzied shouting done so well in the opening piece throughout the <i>Twist </i>performance,
and if that's all Mead could channel it would make for a
satisfying-enough evening. But the piece demands that Mead portray a
diversity of characters, including a damsel in distress, which he
differentiates splendidly and transitions into and out of on a dime.
Especially worth noting is Mead's command of volume dynamics, building
from a barely audible whisper to an ear-splitting climax.<br />
As for that Hamlet comment? Mead makes a case that he is leading man
material as well, presenting an excellent rendition of a selection from
the leading man of another of Shakespeare's tragedies—the one actors
refer to in hushed tones as "The Scottish Play."<br />
<i>Murder on the Bare Stage</i> is a very satisfying evening of theater and a fantastic opportunity to catch a brilliant artist in an intimate setting.<br />
<b>See It If: </b>You've ever felt like props or lights have gotten in the way of your enjoyment of the performer and the text.<br />
<b>Skip It If: </b>You prefer the films of <b>Michael Bay </b>to those of <b>Michael Haneke.</b><br />
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And here's the review in full from the DCMTA article from Veronique MacRae last week...<b> </b><br />
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<b><a href="http://www.dcmetrotheaterarts.com/2013/07/14/capital-fringe-review-murder-on-the-bare-stage-by-veronique-macrae/">Five Star Murder</a></b></div>
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Capital Fringe Review: ‘Murder on the Bare Stage’ by Veronique MacRae</h1>
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<span class="sep">Posted on </span><a href="http://www.dcmetrotheaterarts.com/2013/07/14/capital-fringe-review-murder-on-the-bare-stage-by-veronique-macrae/" rel="bookmark" title="10:31 pm"><time class="entry-date" datetime="2013-07-14T22:31:31+00:00" pubdate="">July 14, 2013</time></a><span class="by-author"> <span class="sep"> by </span> <span class="author vcard"><a class="url fn n" href="http://www.dcmetrotheaterarts.com/author/veronique-macrae/" rel="author" title="View all posts by Veronique MacRae">Veronique MacRae</a></span></span>
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Dark. Powerful. Mysterious. Magnetic. Suspenseful. Stephen Mead presents a truly breath-taking and captivating performance in <i>Murder on the Bare Stage</i>.
With the combination of classic masterpieces by greats such as Edgar
Allan Poe, W.S. Gilbert, and William Shakespeare and the avant garde
masterpieces in the making by poet Magus Magnus, Mead delivers a solo
performance that thrusts the audience into a world of imagination and
creativity that allows one to return the very heart and essence of
theatre.<br />
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Without spectacle or set, Mead turns the bare stage into the various
settings that allow the mind to submit itself to the world of the works
delivered in pieces such as Magnus’ <i>A Bandit Plots a Murder by the Roa</i>d and Poe’s<i> The Tell-Tale Heart</i>.
Through a marriage of what Magnus and Mead refer to as the Idyll form
and Dramatic Recitation, an evening of live theatre is created that
reminds the viewer that in a world focused on large screens and special
effects, that the essence of live theatre requires only the authenticity
of the performer and the openness of imagination.<br />
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<i>Murder on the Bare Stage</i> is truly a ‘Must-See’ for the 2013 Capital Fringe Festival.<br />
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<b><a href="https://www.capitalfringe.org/festival-2013/shows/203-murder-on-the-bare-stage"><i>Murder on Bare Stage</i></a> </b>plays
through July 27, 2013 at Caos on F – 923 F Street NW in Washington, DC.
For performance times and to purchase tickets, visit the show’s <a href="https://www.capitalfringe.org/festival-2013/shows/203-murder-on-the-bare-stage"><b>Capital Fringe Page</b></a>.<br />
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Here's a link to another review, just to keep us grounded - a bit more down-to-earth.<br />
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<a href="http://dctheatrescene.com/2013/07/19/murder-on-a-bare-stage/">DC Theatre Scene</a> </div>
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DC Theatre Scene's T. Chase Meacham saw the same performance as City Paper's Ben Catell Noll. I was running the lights that night, and definitely saw the performance Noll saw. At the same time, even this slight discrepancy points to the ongoing risk the idea/ideal of a "shared imagining" takes! - it really depends upon each audience member entering into the embrace of the imagining... Of course, I like the best responses best, and yet beyond personal satisfaction I also favor quite deliberately (as the point of focus for continuing improvement and honing) feedback aligned with the artistic-theatrical intention. Meanwhile, Meacham was a very conscientious journalist in his immediate correction of a factual error once it was pointed out to him. </div>
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Theory into practice!</div>
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<span style="font-size: large;"><b>3 Performances left !</b></span></div>
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<span style="font-size: large;"><b>Caos on F</b></span><br />
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923 F St, NW<br />
Washington, DC 20004 </div>
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Wednesday July 24 10:15pm<br />
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Thursday July 25 7:00pm<br />
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Saturday July 27 8:00pm</div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-47094337926572838862013-07-17T07:06:00.000-07:002013-07-17T07:06:44.638-07:00Opening Weekend: "Must-See", Five Stars, "Best of the Fringe" from DCMTAI think so far I've been able to get out a lot of theory and description about the process/practice of performing the Idyll form: what the experience is to audiences, what it's techniques are to actors, and what it's aesthetic intent is to contemporary theater.<br />
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How wonderful to receive a review that accords so well with these artistic intentions, as well as with this blog's ongoing project of communicating and clarifying (as much to myself as to others) the Idyll form as an idea and source of dynamic force for theater and acting.<br />
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As <i>Murder on the Bare Stage</i> went into the first weekend of the 2013 Capital Fringe Festival, DCMTA (DC Metro Theater Arts) had already recommended it as a "Must-See"; so then, it was all the more gratifying - and good for the show - to receive DCMTA reviewer Veronique MacRae's opening night review giving us 5 Stars and "Best of the Fringe" status.<br />
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Here's the link to the review: <a href="http://www.dcmetrotheaterarts.com/2013/07/14/capital-fringe-review-murder-on-the-bare-stage-by-veronique-macrae/">Five Star Murder</a></div>
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"Dark. Powerful. Mysterious. Magnetic. Suspenseful." leads into understanding and confirmation of the raison d'etre of our endeavor (this contoured collaboration intermixing the Idyll form with Mead's expertise in "dramatic recitation"): "...performance that thrusts the audience into a world of imagination and creativity that allows one to return the very heart and essence of theater."<br />
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Huge accolades for Stephen Mead include descriptions of his performance as "truly breathtaking," "captivating."<br />
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And I don't mind what was said about my pieces in the show, don't mind at all. Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-22166200453195788782013-07-10T10:47:00.000-07:002013-07-10T10:47:56.087-07:00Articles on Murder on the Bare Stage Perspectives/Previews<br />
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The Capital Fringe Festival opens tomorrow, and <i>Murder on the Bare Stage</i> opens the day after: 10:15 pm show at Caos on F Street<br />
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We've had three articles come out in the past couple of weeks about the show: two are previews written up by Stephen Mead, and one is from Michael Oliver, poet, playwright, and director, who also has a literary-focused show in CapFringe, <i>Legal Tender</i> - described as a fusion of prose and theater.<br />
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The articles can be found at the following links:<br />
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<a href="http://www.dcmetrotheaterarts.com/2013/06/21/2013-capital-fringe-show-preview-murder-on-the-bare-stage-by-stephen-mead/">DCMTA</a></div>
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<a href="http://dctheatrescene.com/2013/07/08/capital-fringe-murder-on-the-bare-stage/">DC Theatre Scene</a></div>
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<a href="http://www.mdtheatreguide.com/2013/07/through-lines-so-you-thought-the-fringe-festival-was-only-for-the-zanies/">MD Theatre Guide</a></div>
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Venue and showtimes... </div>
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<span style="font-size: x-large;"><b>Caos on F</b></span><br /><br />923 F St, NW<br /> Washington, DC 20004 </div>
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Friday July 12 10:15pm<br /><br />Wednesday July 17 9:30pm <br /><br />Saturday July 20 2:30pm<br /><br />Sunday July 21 8:45pm<br /><br />Wednesday July 24 10:15pm<br /><br />Thursday July 25 7:00pm<br /><br />Saturday July 27 8:00pm</div>
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And of course, tickets are available through our Fringe webpage here:</div>
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<a href="https://www.capitalfringe.org/festival-2013/shows/203-murder-on-the-bare-stage">Murder on the Bare Stage at CapFringe</a><a href="http://www.blogger.com/null"><br /></a></div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-19370725172105567132013-06-17T09:36:00.000-07:002013-06-17T09:36:23.447-07:00Murder on the Bare Stage tickets now on sale<span style="font-size: small;"><b><span style="font-size: x-large;">T</span></b>ickets went on sale this morning for the <span style="font-size: large;">2013 Capital Fringe Festival</span>. Click here for more information about the Festival, including its full listings of shows...</span><br />
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<span style="font-size: small;"><span style="font-size: large;"><a href="https://www.capitalfringe.org/">Capital Fringe</a></span></span></div>
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<span style="font-size: small;">The webpage specifically for <span style="font-size: large;"><b><i>Murder on the Bare Stage</i></b> </span>is now live, and tickets are available here:</span><br />
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<span style="font-size: large;"><a href="https://www.capitalfringe.org/festival-2013/shows/203-murder-on-the-bare-stage">Murder on the Bare Stage at CapFringe</a></span></div>
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<span style="font-size: large;">or call 866-811-4111</span></div>
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<span style="font-size: small;">Plus, you can follow our show on <span style="font-size: large;">Facebook</span> at <span style="font-size: large;"><a href="https://www.facebook.com/GuiltBleeds">Guilt Bleeds</a> </span></span></div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-4120764015438970952013-06-01T10:15:00.000-07:002013-08-17T07:56:29.236-07:00Murder on the Bare Stage coming to Capital Fringe (July 11 - 28)Coming this July to CapFringe 2013: <i><span style="font-size: large;">Murder on the Bare Stage</span>, </i>the show we debuted at Bloombars last fall (see October 2012 entry), combining Stephen Mead's expertise in "Dramatic Recitation" of Victorian-era
authors - here, violent nerve-wracking scenes from Poe and Dickens and
more - with three of my idylls relevant to the overall theme of <span style="color: #990000;"><i>murder</i>. </span><br />
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This hour-long version will have a run of seven performances during the festival.<br />
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The Capital Fringe organization does a great job at helping artists and producers organize, prepare, and promote their shows - xclnt professional training. Both through and since our great time in March with the Happenings at the Harman Idylls showcase, we've been taking this process step by step. <br />
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Thus, some artwork for what CapFringe calls "promotional collateral" (Festival Guide, postcards, posters, etc.)...<br />
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And a 10-word headline for our page on the CapFringe website (coming soon)...<br />
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<span style="font-size: large;">What's Hidden Bleeds - How Can a Crime Be Concealed?</span></div>
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And a 40-word blurb for the website and Festival Guide...</div>
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Nail-biting and Nerve-wracking: actor Stephen Mead (London’s
Royal Academy of Dramatic Art-trained) combines his specialty in dramatic
recitations of Poe and Dickens with poet Magus Magnus’ approach to theater of
the imagination, for classic and avant-garde thrills and chills.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<br />
Although going forward maybe I'd switch "classic and avant-garde" to "classic and new," in recurrent consideration of the term "avant-garde" and its applicability; the contours of the show overall keep everything on edge, and the Idylls form - as theater of the shared imagining, in re-conception of an ancient form - is offbeat and radical (root-pulling) in its approach to contemporary theater and acting, even as the individual pieces retain narrative arcs... getting to the root of what theater can do, or even tries to do, these days. So yes, "avant-garde"; and yet, "Old-New" might express more precisely the dedication to innovative working against temporocentrism: in the Now, pushing to the verge where past, present, and future intersect in timelessness - the juncture for a real avant-garde practice (with true classics ever there/here to indicate the breach). <i>Logos/Kairos</i>. <br />
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
our Facebook page:<a href="https://www.facebook.com/GuiltBleeds">facebook.com/GuiltBleeds</a></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Stephen Mead will be tweeting: <!--[if gte mso 9]><xml>
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<span style="font-size: 14.0pt;">twitter.com/StephenMMead<span style="mso-spacerun: yes;"> </span>#MurderontheBareStage <span style="mso-spacerun: yes;"> </span>#capfringe13 #CapFringeSoldOut</span></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"><span style="font-size: small;">And Heeeeeer'es S<span style="font-size: small;">tep<span style="font-size: small;">hen....</span></span></span></span></span></div>
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And you can get all the details for the show from our Press Release, template provided by the Capital Fringe Organization...</div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Helvetica","sans-serif"; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">Murder on the Bare Stage</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Helvetica","sans-serif"; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;"> </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Helvetica","sans-serif"; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt;">a part of the
8<sup>th</sup><span style="mso-spacerun: yes;"> </span>Annual Capital Fringe
Festival July 11 - 28, 2013</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Helvetica","sans-serif"; font-size: 16.0pt; mso-bidi-font-family: "Times New Roman";">A Program of Masterful Literary-Poetic
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">What:<span style="mso-tab-count: 1;"> </span></span></b><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">Murder on the
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<span style="font-size: 14.0pt;">featuring
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<span style="font-size: 14.0pt;"> devised by Stephen Mead and poet Magus Magnus</span></div>
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<span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">Where:</span></b><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span>Caos on F</span></div>
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<span style="font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 2;"> </span>923
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<span style="font-size: 14.0pt;">July 12<sup>th</sup>, 10:15pm</span></div>
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<span style="font-size: 14.0pt;">July 17<sup>th</sup>, 9:30 pm</span></div>
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<span style="font-size: 14.0pt;">July 20<sup>th</sup>, 2:30 pm</span></div>
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<span style="font-size: 14.0pt;">July 21<sup>st</sup>, 8:45 pm</span></div>
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<span style="font-size: 14.0pt;">July 24<sup>th</sup>, 10:15 pm</span></div>
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<span style="font-size: 14.0pt;">July 25<sup>th</sup>, 7:00 pm</span></div>
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<span style="font-size: 14.0pt;">July 27<sup>th</sup>, 8:00 pm</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Tickets
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866-811-4111. </span>
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<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: 14.0pt;">About <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Murder on the Bare Stage</i></b></span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-size: 14.0pt;">Scary, spine-tingling, and entertaining, this program
combines actor Stephen Mead’s expertise in dramatic recitation of authors such
as Poe and Dickens with poet Magus Magnus’ approach to the “Idyll” form
(theater of the imagination), for classic and avant-garde thrills and chills on
the theme of violent crime.<span style="mso-spacerun: yes;"> </span>Audiences
enter into the mindscapes of killers, maniacs, the guilt-ridden, and the
ruthlessly ambitious.<span style="mso-spacerun: yes;"> </span>Suspenseful,
intriguing.</span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: 14.0pt;">About <b style="mso-bidi-font-weight: normal;">Stephen Mead </b>and <b style="mso-bidi-font-weight: normal;">Magus Magnus</b></span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">Stephen Mead</b>
trained as an actor at London’s Royal Academy of Dramatic Art. Stephen has
worked for the Victoria and Albert Museum, the National Arts Collection Fund,
the National Trust (UK), Richmond Adult College, Missenden Abbey
Buckinghamshire, among many other venues. He has appeared on the bill of the
world-famous Player’s Theatre in London singing Victorian music-hall. Stephen
had the honor of being invited to perform his one-man adaptation of Charles
Dickens’ <i style="mso-bidi-font-style: normal;">A Christmas Carol</i> at the
Dickens Festival in Dickens’ home town Rochester, Kent, in the historic
Guildhall three years in a row. He also performed a tour of Switzerland under
the auspices of the Anglo-Swiss society. His appearances in the Washington DC
area include <i style="mso-bidi-font-style: normal;">All's Well that Ends Well</i>
for the Maryland Shakespeare Festival, <i style="mso-bidi-font-style: normal;">Romeo
and Juliet</i> for Vpstart Crow Theatre Company, and <i style="mso-bidi-font-style: normal;">Medieval StoryLand,</i> a hit at the 2012 Capital Fringe Festival;<span style="mso-spacerun: yes;"> </span>he is also as an entertainer at local hotels,
and has performed programs of his Dickens recitations including his one man
show version of <i style="mso-bidi-font-style: normal;">A Christmas Carol</i> to
acclaim at venues in DC and Virginia.<span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: 14.0pt;"><span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;">Magus Magnus</b> is
the author of <i style="mso-bidi-font-style: normal;">The Re-echoes, Idylls for a
Bare Stage, Heraclitean Pride, </i>and <i style="mso-bidi-font-style: normal;">Verb
Sap.<span style="mso-spacerun: yes;"> </span></i>As artistic director of
SiGiLPAL (<i style="mso-bidi-font-style: normal;">Sui Generis </i>Literary
Performing Arts Lab), he explores, develops, and showcases a variety of
approaches to performing the written word.<span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<br />
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: 14.0pt;">About <b style="mso-bidi-font-weight: normal;">Capital Fringe: </b>Capital Fringe is a 501(c)3 nonprofit organization
founded in 2005 with the purpose of connecting exploratory artists with
adventurous audiences by creating outlets and spaces for creative,
cutting-edge, and contemporary performance in the District. Capital Fringe’s
vital programs ensure the growth and continued health of the local and regional
performing arts community by helping artists become independent producers while
stimulating the vibrant cultural landscape in our city.</span></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
</span></span></span>
<div class="MsoBodyText">
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></div>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">
<div class="MsoBodyText">
<span style="font-size: 14.0pt;"># # #<span style="mso-spacerun: yes;"> </span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEOFlOSnY_rjOibBFhKAsu6kdT6Y7Vzgp3EcFXttasV6SfYECbwOi-doqQK9UB8Qes282ykYUiW2tydxw4hFcFf4wVbswSfyOnNys7AMBsXOd-EyKaZyZVng-M2hD2yKTZqhY_CGfREoo5/s1600/CapitalFringeLogo_JPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEOFlOSnY_rjOibBFhKAsu6kdT6Y7Vzgp3EcFXttasV6SfYECbwOi-doqQK9UB8Qes282ykYUiW2tydxw4hFcFf4wVbswSfyOnNys7AMBsXOd-EyKaZyZVng-M2hD2yKTZqhY_CGfREoo5/s320/CapitalFringeLogo_JPG.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b>This production is presented as a part of the 2013 Capital
Fringe Festival, a program of the Washington, DC non-profit Capital
Fringe.</b></div>
</div>
</span></span></span> <br />
<div style="text-align: left;">
</div>
Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-14495866433207418252013-03-12T19:33:00.001-07:002013-03-15T06:34:36.802-07:00Happenings at the Harman, Wednesday 3/20 at Noon<div style="text-align: left;">
<span style="color: #351c75;"><span style="font-family: Georgia, "Times New Roman", serif;"> <span style="color: black;">If you're near downtown D.C. during the week, please join us (and bring your lunch)!</span></span></span></div>
<div style="text-align: left;">
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: right;">
<span style="color: #351c75;"><span style="font-family: Georgia, "Times New Roman", serif;">"Perfect place to set up shop."</span></span></div>
<div style="text-align: right;">
<span style="color: #351c75;"><span style="font-family: Georgia, "Times New Roman", serif;">"Have you seen the bloom of late?"</span></span></div>
<div style="text-align: right;">
<span style="color: #351c75;"><span style="font-family: Georgia, "Times New Roman", serif;">"Sort of thing we did for instants on the beat during that jazz number." </span></span></div>
<br />
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; line-height: 115%;">Mindscape spills
into the theater space </span><br />
<span style="font-size: 12.0pt; line-height: 115%;">as actor and audience collaborate to create “a shared
imagining,” </span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: 12.0pt; line-height: 115%;">something uniquely possible to live theatre.</span></div>
<br />
<br />
<br />
<div style="text-align: center;">
<span style="font-size: x-large;">Idylls Showcase</span></div>
<div style="text-align: center;">
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<span style="font-size: large; line-height: 115%;">Happenings at the Harman<span style="font-size: large;"> </span>Lunchtime Performances</span><br />
<span style="font-size: large; line-height: 115%;"> hosted by Shakespeare Theatre <span style="font-size: large;">C</span>ompany</span></div>
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<span style="font-size: large;">Wednesday, March 20<span style="font-size: large;">th at Noon</span></span></div>
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<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Stephen
Mead</b></span><span style="font-size: 12.0pt;"><span style="font-size: large;">,</span> “A Street-Merchant Imagines his
Riches to Come” </span></div>
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<span style="font-size: 12.0pt;"><span style="mso-tab-count: 3;"> </span>(After
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Harlie
Sponaugle</b></span><span style="font-size: 12.0pt;"><span style="font-size: large;">,</span> “A Mother Feels her
Estranged Daughter’s Labor Pains”</span></div>
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<span style="font-size: 12.0pt;"><span style="mso-tab-count: 3;"> </span>(<i style="mso-bidi-font-style: normal;">vide </i>Colette)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Genna
Davidson</b></span><span style="font-size: 12.0pt;"><span style="font-size: large;">,</span> “A Dancer Stretches her
Legs”</span></div>
<br />
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<br />
<b>The Forum in Sidney Harman Hall<span style="font-size: 12px;"> at </span> 610 F St. NW,</b><span style="font-size: 12px;"><b> Washington, D.C</b></span></div>
<div style="margin-bottom: 1em; margin-top: 0px; text-align: center;">
<b>"Happenings</b> lunchtime <wbr></wbr>performances start at <b>noon</b>. <b> </b><br />
<b>Bring your lunch</b> and we will bring your shot of culture!"</div>
<div style="margin-bottom: 1em; margin-top: 0px; text-align: center;">
<b>Remember: </b> <span style="font-size: 12px;">All performances are</span> <b>FREE</b><span style="font-size: 12px;"> and reservations are not required. Performances will last less than an hour.</span><span style="font-size: 12px;"></span></div>
<div style="margin-bottom: 1em; margin-top: 0px; text-align: center;">
<span style="font-size: 12px;"><a href="http://www.shakespearetheatre.org/info/education/engage-with-stc/happenings">Happenings at the Harman</a> </span></div>
<div style="margin-bottom: 1em; margin-top: 0px; text-align: center;">
<span style="font-size: 12px;"> Special thanks to Hannah Hessel at STC for having us.</span></div>
<br />
<div style="margin-bottom: 1em; margin-top: 0px; text-align: center;">
<span style="font-size: 12px;"><span style="font-size: large;">Starring</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXflb96h7_v2TBxrGrqJhMhMu7Z6LvIj6QrBe3_qH2wxnBI4NZGfGmSKQzoyKGM-EKIAvAjr2T_wFSwDY9qn2iHNu6Rs9MElh9iSXOTWxLssfT3llwAl7w1OEVSextCUFlFCd9cmkNst_o/s1600/stephenmead.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXflb96h7_v2TBxrGrqJhMhMu7Z6LvIj6QrBe3_qH2wxnBI4NZGfGmSKQzoyKGM-EKIAvAjr2T_wFSwDY9qn2iHNu6Rs9MElh9iSXOTWxLssfT3llwAl7w1OEVSextCUFlFCd9cmkNst_o/s400/stephenmead.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen Mead/Street-Merchant<br />
<span style="color: #20124d;"><span style="font-family: Georgia, "Times New Roman", serif;">"just a tray of glassware..."</span></span> </td></tr>
</tbody></table>
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<span style="font-size: large;"><span style="font-size: 12.0pt;">Stephen Mead trained as an actor at
London’s Royal Academy of<span style="font-size: large;"> </span>Dramatic Art. Besides appearing in<span style="font-size: large;"> </span>many
stage productions, he has worked</span></span><span style="font-size: 12.0pt;"><span style="font-size: large;"> </span>as a drama adviser to Goldcrest Films UK
and written for Channel4 (TV). Stephen has made a specialty of DRAMATIC
RECITATIONS (from<span style="font-size: large;"> </span>memory) from the works of DICKENS, EDGAR
ALLAN POE and other<span style="font-size: large;"> </span>19th-century authors. These bring poems
and prose by these writers to vivid<span style="font-size: large;"> </span>life without costume, make-up, lights or
scenery. Most 19th-century<span style="font-size: large;"> </span>literature was written to be heard as
well as read, and Stephen Mead’s<span style="font-size: large;"> </span>enthralling renditions of these pieces
have gripped audiences in the UK and<span style="font-size: large;"> </span>the US since 1987. Stephen has worked
for London’s Victoria and Albert Museum, the National<span style="font-size: large;"> </span>Arts Collection Fund, the National Trust
(UK), Richmond Adult College,<span style="font-size: large;"> </span>Missenden Abbey Buckinghamshire, among
many other venues. He has<span style="font-size: large;"> </span>appeared on the bill of the world-famous
Player’s Theatre in London<span style="font-size: large;"> </span>singing Victorian music-hall. Stephen
had the honour of being invited toperform his one-man adaptation of
Charles Dickens’ “A Christmas Carol” at<span style="font-size: large;"> </span>the Dickens Festival in Dickens’ home
town Rochester, Kent, in the historic<span style="font-size: large;"> </span>Guildhall three years in a row. He also
performed a tour of Switzerland<span style="font-size: large;"> </span>under the auspices of the Anglo-Swiss
society. His appearances in the Washington DC area include All's
Well that Ends Well for the Maryland Shakespeare Festival, Romeo and Juliet for
Vpstart Crow Theatre Company, and Medieval StoryLand, a hit at the 2012 Capital
Fringe Festival;<span style="mso-spacerun: yes;"> </span>he is also as an
entertainer at local hotels, and has performed programs of his Dickens
recitations including his one man show version of A Christmas Carol to acclaim
at venues in DC and Virginia.<span style="mso-spacerun: yes;"> </span>With the
Idylls and SiGiLPAL, he's on his way to CapFringe in summer 2013 with <i>Murder
on the Bare Stage</i> (see October entry).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD8ATyGWNvwT_8ZCRJcxJZZdwSCnA9PL0zFEGBJgC9FP65Irf9Ti9-cul-5bhW9QzZucOVOHHDu4BAm66m0y147homdYTIDp3_JkHtz48AxXggsiGyKGvvnR_3nNDhefAcgpHtwxNG84uZ/s1600/HarlieSponaugleK1CrSm-300x300.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD8ATyGWNvwT_8ZCRJcxJZZdwSCnA9PL0zFEGBJgC9FP65Irf9Ti9-cul-5bhW9QzZucOVOHHDu4BAm66m0y147homdYTIDp3_JkHtz48AxXggsiGyKGvvnR_3nNDhefAcgpHtwxNG84uZ/s400/HarlieSponaugleK1CrSm-300x300.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Harlie Sponaugle/ Mother<br />
<span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #20124d;">"Quietly, but it's begun."</span></span> </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: 12.0pt;">Harlie Sponaugle has been a singer all
her life and several years ago was guided to study acting in a serous way. Her
singing voice has been described as the Steinway of sopranos, seamless
powerful, warm and full on the top and bright and clear on the bottom. Whether
performing opera or art songs, or a play or musical, she strives to stir the
souls of her audience by painting compelling pictures that speak straight to
the heart. Her roles in plays and musicals include the Nurse in Romeo and
Juliet (VPStart Crow); Grandma in Claudie Hukill (Venus Theatre), King Duncan
and the Medicine Woman in Macbeth (Impossible Theatre Co.); and Florence Foster
Jenkins in Souvenir (for the Young Hearts Foundation). Operatic and other
singing roles include Amelia in Un ballo in maschera (Repertory Opera of
Washington), ensemble in Regina (with Patti LuPone at the Kennedy Center
Eisenhower Theatre), Donna Anna in Don Giovanni (Riverbend Opera), and the
Washington area premieres<span style="mso-spacerun: yes;"> </span>of John
Kander’s The Letter from Sullivan Ballou and Ricky Ian Gordon’s Orpheus and
Eudice for soprano, clarinet and piano. She earned her Masters of Music at
George Mason University<span style="mso-spacerun: yes;"> </span>and completed
the Honors Conservatory program at the Theatre Lab School of the Dramatic Arts.
Her next appearance will be as Lady Macbeth in Verdi’s opera Macbeth with the
Riverbend Opera Company in late May of 2013, a challenge she looks forward to
with great excitement and wonder. More info at </span><a href="http://www.harliesponaugle.com/"><span style="font-size: 12.0pt;">www.HarlieSponaugle.com</span></a><span style="font-size: 12.0pt;">.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Genna Davidson/Dancer<br />
<span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #20124d;">"turning and swirling, veiling, unveiling..."</span></span> </td><td class="tr-caption" style="text-align: center;"></td></tr>
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<span style="font-size: 12.0pt; line-height: 115%;">Genna
Davidson is a professional actress in Washington, DC. She was most recently
seen in dog & pony dc's A Killing Game; the Hub Theatre's Big Love
(ensemble/fiddler); and Tattooed Potato's The Nightmare Dreamer. In addition to
acting, Genna has been flirting with puppetry for a number of years and is
producing and collaborating on a Wit's End Puppets original: The Amazing and
Marvelous Cabinets of Kismet. Look for it at the Mead Theatre Lab in April and
May, 2013. She graduated from the University of Maryland, College Park, in 2008
with a BA in Theatre Performance. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><i>About the Show...</i></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">All three
pieces showcased today represent the development of a theatrical approach based
on poet and playwright Magus Magnus’ years of engagement with the form of the
Idyll - poetic monologue designed for performance.<span style="mso-spacerun: yes;"> </span>Such a practice comes out of interpreting
the Idyll, originated by the ancient Greek poet Theocritus, as a “shared
imagining” (with reference to its roots in earlier Mime and its etymology
related to words such as Idea, Ideal, Idol, Images, and <i style="mso-bidi-font-style: normal;">Eidolon</i>). The actual medium of the Idyll form is imagination, and
the performer works in cooperation and with the goodwill of the audience to
foster the imagining of the piece.<span style="mso-spacerun: yes;">
</span>Indeed, audience members themselves are encouraged to become conscious
of this process, whereby they notice themselves engaging a communal mental
space – together, we enter a landscape of the imagination.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">A full
treatment of the Theocritean Idyll as reconceived in its relevance and
possibility for contemporary theater (not least with respect to what theater and
theater alone can still do amidst the worldwide sensory bombardment of screens
and media) forms the introduction to Magnus’ <i style="mso-bidi-font-style: normal;">Idylls for a Bare Stage</i> ( twentythreebooks, 2011). This introduction was republished just this month as an essay titled “Imagination and Performance” in the journal
Nerve Lantern: Axon of Performance Literature.<span style="mso-spacerun: yes;"> <a href="http://www.pyriformpress.com/nervelantern/">Nerve Lantern</a></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="color: #351c75;"><span style="font-size: large;"><b>Deepest gratitude</b></span></span> to the three featured performers, <span style="font-size: large;"><b><span style="color: #351c75;">Genna Davidson, Harlie Sponaugle,</span> </b><span style="font-size: small;">and </span><span style="color: #351c75;"><b>Stephen Mead,</b></span></span><span style="color: #351c75;"> </span>all of whom have given a great deal of sustained time and effort to engage the process, and contributed their theatrical creativity, insights, experience, and expertise in collaborative development of a performance style effective for the Idylls form.</span><br />
<span style="font-size: 12.0pt; line-height: 115%;"></span><br />
<a name='more'></a><span style="font-size: 12.0pt; line-height: 115%;"> ________</span><br />
<br />
<span style="font-size: 12.0pt; line-height: 115%;">Truly this month has been Idylls of March</span><br />
<span style="font-size: 12.0pt; line-height: 115%;">(if you'll forgive the bad punning - I'm trying, but failing, to resist)</span><br />
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-size: 12.0pt; line-height: 115%;">The Harman event has been in preparation for months and, as mentioned previously, we've evolved our approach to process and presentation of the Idylls form, based on ongoing conceptual work, extensive rehearsals, and with gleanings from the Power of the Poetic Monologue workshops associated with this project and SiGiLPAL. As always, first we release the power of words through various exercises designed to bypass inhibition and analysis, then we work within the realm of the imagination. It is with this latter practice, the imagining, that we've of late involved ourselves with more precise, detailed work - to a degree way beyond usual theatrical and acting approaches. </span><br />
<br />
<span style="font-size: 12.0pt; line-height: 115%;">Towson University's Geo-aesthetics Conference inserted itself along the way (see previous blog entry), thanks to its organizer Dr. John Murungi there, Rose Cherubin for bringing it to my attention, and Anne Ashbaugh there with her Penelope Weaving lecture right before our rendition of her Leda Waving (through the air-borne feathers of Zeus), plus the supportive presence of Christophe Casamassima - again, proof in concept, that the Idylls practice is portable, theatre that can be done anywhere: we were in a tight place, and so had Natalie do her Leda on a table, and Stephen emerged from a corner of the conference room to make of it a market stall.</span><br />
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-size: 12.0pt; line-height: 115%;">And so, here's what will be noticeable at the Harman, out of a honed approach, to the point of actually blocking in the imagination, working in detail and with specifics on the invisible - </span><br />
<br />
<span style="font-size: 12.0pt; line-height: 115%;">conscious work on three levels of reality: </span><br />
<span style="font-size: 12.0pt; line-height: 115%;">1. venue space and performer, as they are</span><br />
<span style="font-size: 12.0pt; line-height: 115%;">2. imagined setting and embodied character </span><br />
<span style="font-size: 12.0pt; line-height: 115%;">3. the vivid inner life of the character </span><br />
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-size: 12.0pt; line-height: 115%;">...in keeping with the idea of art as having the potential to be about our penetration and uses of reality and understanding reality... </span><br />
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-size: 12.0pt; line-height: 115%;">The Idyll form intends - for performer and audience alike - an exploration and conscious experience of at least three layers of mind/world interaction and mixture, </span><span style="font-size: 12.0pt;">triple-tiered awareness (the bare theater space and unadorned
performer as first level of reality, inclusive of audience, the senses, and a sense of presence; the embodied character and imagined
setting, scene, objects or atmosphere as second level; and the inner life of the character, whether memory, anticipation, or fantastical projection as third). </span><br />
<span style="font-size: 12.0pt;"><br /></span>
<span style="font-size: 12.0pt;">Or else, as exemplified in the opening Idyll of next Wednesday's Harman show - the Street-Merchant Imagining his Riches to Come - it's all a genie pouring out of Aladdin's lamp.</span><br />
<br /></div>
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-20273081076429895752013-03-06T09:01:00.001-08:002013-03-06T09:01:22.080-08:00Performer Profile: Natalie Cutcher<span style="font-size: small;">This Friday morning, for our program titled<span style="font-size: small;"><i> <span style="font-size: small;">A </span></i></span></span><span style="font-size: small;"><i>Shared Imagining: Beyond Self-Enclosure in Performance through the theory and technique of the Idyll<span style="font-size: small;"> </span></i></span><span style="font-size: small;"><span style="font-size: small;">at</span> Towson University's 5th annual Geo-aesthetics Conference (see <span style="font-size: small;">just previous entry)</span>, <span style="font-size: small;"><b>Natalie Cutcher </b>will apply<span style="font-size: small;"> our </span>theory and <span style="font-size: small;">app<span style="font-size: small;">ro</span>ach</span> to<span style="font-size: small;"> "Leda" by <b>Anne Ashbaugh</b>, a poetic soliloquy<b>. </b><span style="font-size: small;">This will directly f<span style="font-size: small;">ollow Anne's <span style="font-size: small;">lecture</span> on Penelope - I'm thrill<span style="font-size: small;">ed <span style="font-size: small;"><span style="font-size: small;">once again to present her "Leda" in a new incarnation with a new performer, <span style="font-size: small;">beautiful as it is in its poetry and <span style="font-size: small;">sensuous s<span style="font-size: small;">e<span style="font-size: small;">nse</span></span></span>, and co<span style="font-size: small;">mpatible</span> as it is <span style="font-size: small;">with</span> <span style="font-size: small;">the </span>multilevel imaginative approach<span style="font-size: small;"> of t<span style="font-size: small;">he Idylls per<span style="font-size: small;">formance t<span style="font-size: small;">echnique</span></span></span></span></span></span></span></span></span></span></span></span></span>.<br />
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<span style="font-size: small;"><span style="font-size: small;">I called </span></span>Natalie after watching her at the D.C Actors' Center Lottery Auditions this fall, and she came to our work cold, without introduction to our performances or participation in the Power of the Poetic Monologue workshops. <br />
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Nevertheless, Natalie immediately accessed the poetry of Anne Ashbaugh's Leda during the first rehearsal, with an instinctive feel for the more abstract aspects of the piece's flights ("the pleasure clinging to our dying flesh surpasses god's, persists, but slides from
the immortal frame not knowing how to end, stretching"), and since then
she has brought out naturally, with flowing ease, the play - the clash -
of human encounter with the divine. Here, with the rape of Leda by
Zeus as a swan, this encounter is violent, transgressive, under duress -
all that is indeed there in her relation to the character, and yet
Natalie keeps the lyric in her body as she moves and at times glides
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The lyric in Natalie's movement: towards activation of the intrinsic power of words, the Idylls approach begins with a variety of exercises designed to connect to the script with immediacy, by-passing analysis; recently, we've tried taking spatial, stretching, dance-like passes through the words, and this has had an excellent effect for Natalie's Leda, becoming part of her performance and interpretation, giving her an ethereal glide in retention of flight and myth along with the realistic human psychology of coping with a violation - flight of poetic myth even in the piece's affirming human love and capacity over the divine.<br />
<br />
From activation of the power of the words to conscious blocking of the imagination, Natalie has created multi-level access to Anne's poetry, ready to place - in the bare space of a conference hall - feathers in the air, a ringing in her Leda's ears, the bizarre divine egg in Leda's womb.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFZyFK93-iUjGwmSXh68l-AG-WurxjeuHCPFRA4DZH-g77IsYWWJyTp7_W-ojUGOhUEewrus_IAgxg4sEd9ny8RJzQiC2GUYBG6ONXsM_Nmt1EhU9dONVyDy4IqwvtPa1W_PA13U3EEvL/s1600/Natalie+Cutcher+Headshot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFZyFK93-iUjGwmSXh68l-AG-WurxjeuHCPFRA4DZH-g77IsYWWJyTp7_W-ojUGOhUEewrus_IAgxg4sEd9ny8RJzQiC2GUYBG6ONXsM_Nmt1EhU9dONVyDy4IqwvtPa1W_PA13U3EEvL/s640/Natalie+Cutcher+Headshot.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Natalie Cutcher as Leda</td></tr>
</tbody></table>
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<span style="font-size: small;"><b>Natalie Cutcher </b></span>is currently pursuing acting in the DC metro area. She has previously been seen collaborating with <span style="color: #222222; font-family: arial,sans-serif; font-size: 13px;">Faction of Fools, </span><span style="color: #222222; font-family: arial,sans-serif; font-size: 13px;">Kennedy Center's Page-to-Stage Festival, </span><span style="color: #222222; font-family: arial,sans-serif; font-size: 13px;">Source Festival, </span><span style="color: #222222; font-family: arial,sans-serif; font-size: 13px;">Washington Rogues, </span><span style="color: #222222; font-family: arial,sans-serif; font-size: 13px;">Arts Alive, and </span><span style="color: #222222; font-family: arial, sans-serif;">Empty
Chair Theatre Company. While earning her BA from Muhlenberg College
she had the opportunity to study Commedia dell'Arte and clowning abroad
in Italy as well as perform locally. She is happily a member of the
Ford's Theatre team by day.</span><br />
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-27466527265266824392013-02-28T13:27:00.000-08:002013-02-28T13:27:22.652-08:00Theory and Technique of the Idyll<span style="font-size: small;">Over the past couple of months, <span style="font-size: small;">on the way towards</span> March 20th's Idylls showcase for Happenings at the Harman, the technique of the Idyll for performance has sharpened in definitiveness. This <span style="font-size: small;">development has occur<span style="font-size: small;">red <span style="font-size: small;">during conceptual meetings<span style="font-size: small;">, as well as in</span> rehearsal<span style="font-size: small;"> - </span>part of our practice an<span style="font-size: small;">d process - and not least in relation to a workshop<span style="font-size: small;"> </span>I gave in January at Bloombars (which <span style="font-size: small;">had the add<span style="font-size: small;">itional <span style="font-size: small;">bonus of bringing new excellent </span></span>performer<span style="font-size: small;">s in on the project).</span></span></span></span></span></span> </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The techniques continue to<span style="font-size: small;"> evolve simply <span style="font-size: small;">due to</span> gained experience over time,<span style="font-size: small;"> from contin<span style="font-size: small;">uous honing</span></span> of the theor<span style="font-size: small;">y <span style="font-size: small;">and v<span style="font-size: small;">ision as expressed here in this blog (<span style="font-size: small;">"A Shared Imagining" as an interpretation of<span style="font-size: small;"> </span>the nature of the poetry performance form of th<span style="font-size: small;">e Idyll), and<span style="font-size: small;"> through steady application<span style="font-size: small;"> of ideas found</span></span> <span style="font-size: small;">in</span> the introduction of my book <i>Idylls for a Bare Stage</i><span style="font-size: small;"> - that introduction </span>now appearing <span style="font-size: small;">as an essay titled </span></span></span></span></span></span></span>"Imagination and Performance" in the performance journal <a href="http://www.pyriformpress.com/nervelantern/">Nerve Lantern #6</a><span style="font-size: small;"> </span>(officially available on March 18th).</span>
<span style="font-size: small;"> </span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;">More and more, we have begun to rehearse consciously on </span>multiple levels of imagination.<span style="font-size: small;"> </span>I'll give more details and spe<span style="font-size: small;">cifics on </span>how we've stylized the performances in relation to imagination - how we actually conduct blocking in the realm of the <span style="font-size: small;">imagin<span style="font-size: small;">a</span>ry<span style="font-size: small;"> - </span></span><span style="font-size: small;"><span style="font-size: small;">when I post specifically</span> <span style="font-size: small;">on the<span style="font-size: small;"> </span></span>Harman show. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Meanwhile<span style="font-size: small;"> </span>next week<span style="font-size: small;">, </span></span>on Friday March 8th, for </span>Towson University's 5th annual Geo-aesthetics Conference, we're presenting a program titled<i><span style="font-size: small;"> </span>A Shared Imagining: Beyond Self-Enclosure <span style="font-size: small;">in</span> Performance through the theory and technique of the Idyll,</i> featuring performances by <b>Stephen Mead </b>and<b> Natalie Briggs Cutcher</b>.</span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;">I hope to post a profile of Natalie<span style="font-size: small;"> in time for the conference. S<span style="font-size: small;">he'll be performing Anne Ashbaugh's <i>Leda.</i></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;">And Stephen<span style="font-size: small;"> is with us once again, <span style="font-size: small;">doing the Street Merchant from <span style="font-size: small;">my Idyll of the Arabian Nights.</span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span><br /> </span><br />
<br />
Stephen's complete bio can be found where he's profiled elsewhere on the site, and his more recent appearance<span style="font-size: small;"><span style="font-size: small;">s <span style="font-size: small;"><span style="font-size: small;">in the Washington DC area<span style="font-size: small;"> i</span>nclude<span style="font-size: small;"><i> </i></span><i>All's Well<span style="font-size: small;"> </span>that Ends Well<span style="font-size: small;"> f</span></i>or the Maryland Shakespeare Festival<span style="font-size: small;"><i>, </i></span><i><span style="font-size: small;">Romeo and Juliet </span></i><span style="font-size: small;">f</span></span></span></span></span><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">or Vpstart Crow Theatre Company, <span style="font-size: small;">and</span> <i>Medieval StoryLand</i>, a<span style="font-size: small;"> </span>hit at the 2012 Capital Fringe Festival<span style="font-size: small;">; h<span style="font-size: small;">e <span style="font-size: small;">is also </span></span></span>as an entertainer at local<span style="font-size: small;"> </span>hotels, and has performed programs of his Dickens recitations including<span style="font-size: small;"> </span>his one man show version of <i>A Christmas Carol</i><span style="font-size: small;"> </span>to acclaim at venues<span style="font-size: small;"> </span>in DC and Virginia.<span style="font-size: small;"> </span>With the Idylls and SiGiLPAL, he's on his way t<span style="font-size: small;">o </span></span></span></span>Happenings at the Harman, <span style="font-size: small;">while</span> <span style="font-size: small;"><i>Murder on the Bare Stage</i> (see October entry) will go to CapFringe in s<span style="font-size: small;">ummer </span>2013.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span> </span></span><br />
<span style="font-size: small;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXflb96h7_v2TBxrGrqJhMhMu7Z6LvIj6QrBe3_qH2wxnBI4NZGfGmSKQzoyKGM-EKIAvAjr2T_wFSwDY9qn2iHNu6Rs9MElh9iSXOTWxLssfT3llwAl7w1OEVSextCUFlFCd9cmkNst_o/s1600/stephenmead.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXflb96h7_v2TBxrGrqJhMhMu7Z6LvIj6QrBe3_qH2wxnBI4NZGfGmSKQzoyKGM-EKIAvAjr2T_wFSwDY9qn2iHNu6Rs9MElh9iSXOTWxLssfT3llwAl7w1OEVSextCUFlFCd9cmkNst_o/s320/stephenmead.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stephen Mead as the Street Merchant</td></tr>
</tbody></table>
<br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Here's s</span>ome f</span>urther context<span style="font-size: small;"> about the upcoming Geo-aesthetics Conference presentation (<span style="font-size: small;">providing <span style="font-size: small;">a number of indications</span></span> relevant to the techniques in question).<span style="font-size: small;">..</span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">W<span style="font-size: small;">hen <span style="font-size: small;">the conference's Call for Abstract<span style="font-size: small;">s came to my attention<span style="font-size: small;">, I<span style="font-size: small;"> couldn't help bu<span style="font-size: small;">t notice </span></span></span>how much the wording of the call, and its concepts, corresponded to our <span style="font-size: small;">structural sense</span> of what we were doing<span style="font-size: small;"> through performance of</span> the Idylls, including <span style="font-size: small;">what<span style="font-size: small;">'s explored</span> on this blog, <span style="font-size: small;">under </span>its title. </span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">So</span>, I'm p<span style="font-size: small;">osting t<span style="font-size: small;">he call <span style="font-size: small;">here, as well as a version of my abstract answering that call, for ano<span style="font-size: small;">ther angle on the uses and<span style="font-size: small;"> intent behind the Idyll<span style="font-size: small;"> form</span> conceived of as <span style="font-size: small;">"A</span> Share<span style="font-size: small;">d Imagining."</span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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<blockquote class="tr_bq">
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<span style="font-family: Georgia,"Times New Roman",serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 22.0pt; line-height: 115%;">Call for Abstracts</span></b></span></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: Georgia,"Times New Roman",serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt;">Fifth Annual
Geo-aesthetics Conference</span></b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt;">March 8-9,
2013</span></b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 18.0pt; line-height: 115%;">Geo-aesthetics and
World Peace </span></b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span class="normalchar1"><span style="font-size: 12.0pt;">The
International Association for the Study of Environment, Space, and Place will
sponsor the<b style="mso-bidi-font-weight: normal;"> </b>Fifth Geo-aesthetics
Conference at Towson University. The conference is co-sponsored by the
Department of Philosophy and the Department of Art at Towson University. </span></span></span> </div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: 12.0pt; line-height: 115%;">In the light of the
rise of modern subjectivism, one should not be surprised to find out that
aesthetic experience has increasingly fallen under the reign of subjectivism.
The construction of the individual as a self-enclosed entity has led to the
restriction of aesthetic experience to such an enclosure. Accordingly, for many
of us, aesthetic experience is a matter of inwardness. It is a matter for what
is private. This location has become a refuge where one finds solace or inner
peace. This circumscription of aesthetic experience has severed a deeper
relation the individual has with others. The encounter with other individuals
is often an encounter with other isolated beings. Consequently, aesthetic
experience appears foreign to the experience of the common bond that human
beings ought to have with one another. The more individuals exclusively cultivate
inner peace, the more they become estranged from experiencing the common bond
they have with other human beings and, hence, from a truly authentic peace.
Since, for us, “to be” is to be “in-the-world”, genuine peace can only be
cultivated in an aesthetic experience that is rooted in-the-world and that
embraces the bond that all human beings have with one another. The conference
seeks to bring together those who are interested in sharing their views on this
matter. Since the world is essentially sensuous, participants will share with
each other their sense of sensuous rootedness in-the-world and also on how this
rootedness bears on world peace. Presentations that seek to affirm or reclaim the
sensuous as the site for the generation, preservation, and promotion of the
world peace are welcome. </span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span class="no0020spacingchar1"><span style="font-size: 12.0pt;">Presentations
of art works, musical performances, poetry readings, and theatrical
performances are encouraged. </span></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt;">A Shared Imagining: Beyond Self-Enclosure in
Performance</span></b></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-size: 14.0pt;">abstract for
a seminar/performance presentation by Magus Magnus</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: 12.0pt;">To
this day millions still sing along with John Lennon’s “Imagine,” even as we’re
more likely to come across bumper stickers which read “Visualize Whirled Peas”
rather than “Visualize World Peace.”<span style="mso-spacerun: yes;"> </span>Thus,
there is some acknowledgement that the practice of extending the inner world
outwardly, en masse – through imagination and conscious visualization – has a
part in healing the earth and humanity.<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-size: 12.0pt;"><span style="font-size: small;">...t</span>hrough years of engagement with the poetic performance form
of the Idyll, a practice has emerged which encourag<span style="font-size: small;"><span style="font-size: small;">es people</span> in </span>becoming conscious and
purposeful in creation of an open bond between themselves as performers<span style="font-size: small;"> (or speakers of any kind) </span>and their audience, as opposed to retaining the usual self-enclosure
of “delivery” – the practice comes out of interpreting the Idyll, from its
roots in Theocritus, as a “shared imagining.”<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12.0pt;">Participation
in the theory and techniques of the Idyll helps hone approaches to performance and
text in which boundaries between artist and audience are dissolved in
strengthened awareness of a common bond.<span style="mso-spacerun: yes;">
</span>Also, the seminar will include – or could consist solely of –
performances demonstrating such an approach, bringing the audience into full
consciousness of a communal mental space, often experienced as an
“evolutionary” sense of multiplicity in the relational possibilities of self
with others. Much of the content of this presentation is an entry into ideas formulated
in the introduction of Magus Magnus’ book <i style="mso-bidi-font-style: normal;">Idylls
for a Bare Stage</i><span style="font-size: small;"> </span>(twentythreebooks, 2011, Towson); forthcoming at about the
time of the conference, the book introduction will be republished as an essay
titled “Imagination and Performance” in the journal <i>Nerve Lantern: Axon of
Performance Literature.</i></span></span></span></div>
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Indeed, the seminar <span style="font-size: small;">will consist almost solely <span style="font-size: small;">of <span style="font-size: small;">Nat<span style="font-size: small;">alie<span style="font-size: small;">'s and Stephen's performance, with brief outlining of the shared imaging<span style="font-size: small;"> concept, <span style="font-size: small;">to<span style="font-size: small;">wards bringing our aud<span style="font-size: small;">ience to a cons<span style="font-size: small;">ciousness of their engag<span style="font-size: small;">ement in <span style="font-size: small;">this </span>shared imagin<span style="font-size: small;">ing<span style="font-size: small;"> - </span>something only possible in live theater<span style="font-size: small;"> </span>and, <span style="font-size: small;">at this level of conscious <span style="font-size: small;"><span style="font-size: small;">practice, </span>something unique to the <span style="font-size: small;">poetic performance form of the Idyll</span></span></span>.</span></span></span></span></span></span></span></span></span></span></span></span></div>
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</span><span style="font-size: small;"><span class="no0020spacingchar1"><span style="font-family: "Times New Roman","serif";"> </span><b><span style="font-family: "Times New Roman","serif";"> </span></b></span></span>Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-30695491296804332952012-12-27T10:09:00.000-08:002012-12-27T10:09:27.817-08:00and now towards 2013Parading with the Idylls into the New Year!<br />
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Much in the works, and I'm finding myself orienting to the coming year in a number of ways with regard to the Idylls, and with regard to its (currently informal) framework for performance approaches to the form, and beyond: SiGiLPAL (<i>Sui Generis</i> Literary Performing Arts Lab).<br />
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Right around the corner, as mentioned in previous posts: Happenings at the Harman will host an Idylls showcase on March 20th.<br />
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As also mentioned in this space, "Murder on the Bare Stage" debuted at Bloombars the weekend before Halloween. It is definitely a show - upon the experience of that night, we've applied to take it to Fringe this summer. The intermixing of the Idyll form and Stephen Mead's specialty in dramatic recitation brought out the contours and distinctive effects of each approach, for an intense impact on the audience. This, in service of the chilling nature of the theme.<br />
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Thus began our collaboration with Bloombars, a wonderful community arts space in Columbia Heights led by John Chambers, with poetry-related programming managed by Gowri Koneswaran, both incredible people to work with. Upcoming soon there: I'm holding a workshop on the performance technique of the Idyll, titled Power of the Poetic Monologue, on January 13th, 2:30pm. This is an introductory version of the 3-part workshops I did at the D.C. Actors' Center in 2011, developing the acting and theatrical approach to the form. The workshop also functions as an audition for performers interested in the possibility of paid performance opportunities through the Idylls/SiGiLPAL projects. More information about the workshops/audition at the following links...<br />
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<a href="http://www.bloombars.com/event-calendar">Bloombars Calendar</a> </div>
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<a href="https://www.facebook.com/events/539714599373408/">Facebook event</a></div>
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Furthermore, I'm excited by the upcoming appearance of my introduction to <i>Idylls for a Bare Stage </i>in the journal Nerve Lantern, edited by the painstaking, thorough, and wonderfully sensitive-to-detail Ellen Redbird. <br />
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<a href="http://www.pyriformpress.com/nervelantern/">Nerve Lantern: Axon of Performance Literature</a></div>
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For the purposes of this publication, the introduction is titled "Imagination and Performance."<br />
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<i>Idylls for a Bare Stage</i> exists as a book (you can order it <a href="http://www.spdbooks.org/Producte/9780982751602/idylls-for-a-bare-stage.aspx">here</a>), and also as a complete theatrical piece to be performed in order, all twelve idylls; at the same time individual idylls have been and can be performed on their own, part of what I've been doing on my own initiative, and as reflected in this blog. Also, the book can function for actors as a high end source for audition monologues. <br />
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Yet, beyond the work as a book and piece(s) for theater, there is the idea of the idyll, and its concomitant theory and techniques for acting and theater - the idea of the Idyll as a form, the re-interpretation of an ancient form for contemporary purposes.<br />
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This is what the introduction to the book (and its upcoming incarnation as an essay, "Imagination and Performance") offers; and this is what I'm trying for in the workshops/audition, "Power of the Poetic Monologue" - to activate an idea of, and for, performance which addresses the question, what does live theater still have to offer uniquely in competition with every other form of media?<br />
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Well, for one thing, the word. The live word, the living embodied in-person delivery of charged language. The "poetic," in the flesh. Live bodies, bare stage - rather than going for expensive spectacle, I'm going for portable essence.<br />
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In developing the Idylls approach, there has been much honing in on a contemporary standard for the stage (or sidewalk) delivery of poetic language: much to avoid in both the theater world and the poetry reading world, all the varieties of pretension from staginess to "wispiness," from the overly intoned to the monotone... an essential aspect of the idylls technique is a trust in the intrinsic power of words. Each word speaks itself, if you let it.<br />
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From there - and this goes deeper into the nature of the form, delving into the etymologies of the ancient Greek word <i>idyll</i> and its cousins, as I do in the essay/book introduction - an exploration of the living invisible, basically: the relationship of imagination to performance.<br />
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We are actually working with the invisible, or the heretofore or nearly invisible: invisible, because imagined - conscious workings of the imagination, live. This is something that cannot be done when involved with the intermediary of screens.<br />
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The Idyll form consciously works on at least three levels of reality (and part of the art is to make this conscious both to artist and audience): the actor on the stage, the body/performer on the stage (visible); the imagined stage setting as created by the actor in character (actually invisible, but the audience sees it!); and then also, the character's internal life conveyed to the audience through the shared imagining - this is almost all invisible, but creates an unmistakable impact on the performance, one can tell when an actor is truly "seeing" whatever memory or projection she or he is putting to words.<br />
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The actor must actually imagine what he or she is thinking about, and the audience can perceive that - it is all apparently invisible, though likely we find clues and our brains put it all together from facial expressions, position of the bodies, even style of breathing... the art - its artistic intention, its relevance and magic - is in revealing these levels of reality, making them manifest and conscious. <br />
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I could also say, entry into this "shared imagining" is evolutionary for humans, a circumscribed engagement in group telepathy; at the very least, it opens up a temporary space for communion.<br />
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Anyway, the Idyll in performance is equivalent to some other modes of art demonstrating - or, <br />
demon-starting (as I have it elsewhere, following my <i>daimon</i>) - phenomena.<br />
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The Idylls in performance and their uses/denial/phenomenology of invisibility might have resonance with one of my poems from <a href="http://www.spdbooks.org/Producte/9780979390111/verb-sap.aspx">Verb Sap</a>, a poem also included in the 10th edition of Pearson Longman's textbook anthology of English, <i>Literature: An Introduction to Reading and Writing...</i><br />
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Empirical / Imperial Demonstration </div>
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what is seen and what is not seen</blockquote>
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what is touched and intangible </blockquote>
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<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-65698748167159643232012-12-14T06:58:00.000-08:002012-12-14T06:58:57.235-08:00Poetry in Community vid featuring Idylls on a Baltimore sidewalk <br />
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Check out this video on Baltimore-based Poetry in the Community.<br />
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PiC was one of the hosts of the 7th Annuel Cruellest Month Poetry and Performance Festival (CruMoPoPerFest) last spring.<br />
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As you'll find in the April archives, scenes from the idylls were performed as part of the wrap-up celebration of poetry month in Baltimore. Idylls actors <b><span style="font-size: small;">Stephen Mead</span></b>,<b> Genna Davidson</b>, and <b>Sue Struve</b> performed in front of the Waverly branch of the Enoch Pratt Free Library on Saturday, April 28th, 2012.<br />
<br />All three of them show up in this video, created by <b>Evan Bartos</b>.<br />
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<span style="font-size: large;">Stephen Mead </span>is there at the start, in the midst of his rendition of "A Street-Merchant Imagines his Riches to Come" from <i>Idylls for a Bare Stage.</i></div>
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<span style="font-size: large;">Sue Struve </span>is seen in action doing "A Native Chief's Captive Woman Guards One Freshly Caught" beginning at :38.</div>
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And you can see and hear a moment of <span style="font-size: large;">Genna Davidson</span>'s Antigone at :50.<br />
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More glimpses of each of them throughout...</div>
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Join Poetry in Community on Facebook <i><a href="https://www.facebook.com/groups/poetryincommunity/?fref=ts">here</a> </i> </div>
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My daughter Hero Magnus is in the video as well, beatboxing and singing at the open mic (she's in a black and white striped shirt); you can hear her voice early on, and my own - I had a chance to mention how performance can create that temporary community of audience and artist (as driven by a shared imagining). </div>
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Overall, you might get some hint from this video of what an idylls performance is like live, on the street, and certainly it provides striking glimpses of the intensity and excellence Stephen, Genna, and Sue bring to their performances.<br />
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Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-64097886574029301982012-10-17T16:34:00.000-07:002012-10-24T15:16:34.699-07:00"Dramatic Recitation" and the Idylls formThis Friday, the collaborative and juxtaposing <i>Murder on the Bare Stage</i> (subject of my entry earlier this month) - in addition to providing chills and thrills, entertainment and suspense, for the weekend before Halloween - has the capability to demonstrate, highlight, and edge defining contours to the Idylls form, through comparison of similar and complementary approaches.<br />
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The show is a collaboration with actor Stephen Mead (profiled elsewhere on this blog), combining his specialty in "Dramatic Recitation" of Victorian-era authors - here, violent nerve-wracking scenes from Poe and Dickens and more - with three of my idylls relevant to the overall theme of <span style="color: #990000;"><i>murder</i>. </span><br />
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Both approaches - "Dramatic Recitation" and the Idyll form - conceive of the verbal element as essential to what live theater still has to offer uniquely, the tingly pleasure of hearing words well-spoken, fantastically-spoken, virtuosity in the delivery of charged language, towards the release in real-time of the power of words.<br />
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<span style="color: #990000;"><span style="font-size: x-large;"><i>Murder on the Bare Stage</i></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><span style="font-size: medium;">8pm Friday, October 26th </span></span></span></div>
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And yet, even with emphasis on the verbal as a mutual starting point for the collaboration, there's variety and illuminating contrasts between "dramatic recitation" and the "shared imagining" approach to the Idyll, as between prose and poetry, and indeed, as between storytelling and poet's theater - or a mixture of it all, contrasts, and combinations.<br />
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Here's what to expect for Friday's show, contours highlighted by what's place side by side.<br />
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<span style="font-size: large;"><i>Murder on the Bare Stage</i></span><br />
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<b><span style="font-size: small;">ACT I<span style="font-size: small;">:</span> Verse and Blood</span></b><br />
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<span style="font-size: large;"><span style="font-size: small;">3 Victorian Era poets</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"> W.S. Gilbert "Gentle Alice Brown"</span></span><br />
<span style="font-size: large;"><span style="font-size: small;"> Lew<span style="font-size: small;">is Carroll "The Walrus and the Carpenter"</span></span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"> Edward Lear<span style="font-size: small;"> <span style="font-size: small;">5 Limericks</span></span></span></span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Idyll - "An Old Soldier Cleans his Rifle for the Last Time" </span></span></span></span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">(<i><span style="font-size: small;">vide</span></i> Walt Whitman) </span></span> </span></span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;">"<span style="font-size: small;">The Murder of Nancy" from <i>Oliver Twist </i>by Charles Dickens. As adap<span style="font-size: small;">ted for dramatic recitation by Dickens him<span style="font-size: small;">self, and further <span style="font-size: small;">adapted by Stephen Mead.</span></span></span></span></span></span></span><br />
<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></span></span> <br />
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<b><span style="font-size: small;">ACT II<span style="font-size: small;">:</span> How Can a Crime Be Concealed? </span></b><br />
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<span style="font-size: small;">I<span style="font-size: small;">dyll - "A Bandit Plots a Murder <span style="font-size: small;">by the Road" </span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Macbeth/Lady Mac<span style="font-size: small;">beth</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">"The Tell-Tale Heart" by Edgar Allan Poe</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">I<span style="font-size: small;">dyll - "A Revel<span style="font-size: small;">er Walks Home to his Family by Moonlight"</span></span> </span></span></span></span><br />
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<br />Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-62865576008125747902012-10-04T14:41:00.000-07:002012-10-24T15:13:17.195-07:00Murder on the Bare Stage<div style="text-align: left;">
Announcing a new show - just in time for Halloween - at Bloombars in Columbia Heights</div>
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This show combines the "Shared Imagining" approach to the Idyll and the Idyll form with actor Stephen Mead's expertise in dramatic recitation - produced in collaboration with <a href="http://www.bloombars.com/">Bloombars</a></div>
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<span style="font-size: x-large;"><span style="color: #990000;">Murder</span> on the Bare Stage</span></div>
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<span style="font-size: x-large;"><span style="font-size: large;">Thrills! Chills!</span> </span></div>
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<span style="font-size: x-large;"><span style="font-size: large;">perfect for the <span style="color: orange;">Halloween Season</span></span> </span> </div>
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<span style="font-size: small;">Art of the Poetic Monologue/ A One-Man Show</span></div>
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<span style="font-size: small;">on the theme of<b> <i><span style="color: #990000;">Murder!</span></i></b></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;">A literary-poetic program combining actor Stephen Mead's specialty </span></span></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;">in dramatic recitations of Poe and Dickens with writer Magus Magnus' </span></span></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;">approach to the "Idyll" (poetic monologue designed for performance)</span></span></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;">from his book <i>Idylls for a Bare Stage</i> </span></span></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;">Devised by Magus Magnus and Stephen Mead </span></span></span></div>
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<span style="font-size: small;"><span style="color: #990000;"><span style="color: black;"><span style="font-size: large;">8pm, Friday October 26th at Bloombars</span> </span></span><b> </b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">starring Stephen Mead</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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</xml><![endif]--></span><span style="font-size: large;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">Spine-tingling!</span></span></i><span style="font-size: large;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> Enactments of Poe's “The Tell-Tale Heart” </span></span></div>
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<span style="font-size: large;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">and “The Murder of Nancy” from Dickens’ <i>Oliver Twist</i> </span></span></div>
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<span style="font-size: large;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">The </span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">Mindscape</span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> of a </span><i><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">killer,</span></i><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> and more, from
Magus Magnus</span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> </span></span></div>
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<span style="font-size: large;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">Black Humor</span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> and </span><span style="color: #990000;"><i><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;">Bloody</span></i></span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> wit</span><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"> from Edward Lear,
Lewis Carroll, W.S. Gilbert, and More </span></span></div>
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<br /></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: "Arial Black","sans-serif"; line-height: 116%;"></span><span style="font-family: "Times New Roman","serif"; line-height: 116%;"></span><span style="font-family: "Times New Roman","serif"; line-height: 116%;">Suggested Donation of $10 to support Bloombars and the show</span></span></div>
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<br /></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><i><b>Murder on the Bare Stage </b></i>is a collaborative production by <b>Bloombars </b> </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;">and Magus Magnus' <b>SiGiLPAL </b>(<i><b>S</b>ui<b> G</b>eneris </i><b>L</b>iterary<i><b> </b></i><b>P</b>erforming <b>A</b>rts <b>L</b>ab)</span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><span style="font-size: large;">3222 11th Street, NW</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><span style="font-size: large;">Washington, D.C. 20010</span></span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><span style="font-size: large;">Murder on the Bare Stage</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><span style="font-size: large;">8pm Friday October 26th </span> </span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: "Times New Roman","serif"; line-height: 116%;"><i><b> </b></i></span></span></div>
Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-47929113835597365932012-08-30T09:44:00.000-07:002012-08-30T09:44:27.037-07:00Upcoming in the 2012/2013 Season: Happenings at the Harman Shakespeare Theatre Company will host an <i>Idylls </i>Showcase this Spring at Sidney Harman Hall.<br />
<br />
<br />
<br />
<div style="text-align: center;">Shakespeare Theatre Company's<a href="http://www.shakespearetheatre.org/info/education/engage-with-stc/happenings"> Happenings at the Harman</a></div><br />
<br />
<div style="text-align: center;">Click on the March tab under "Happenings at the Harman Lunchtime Performances."<br />
<br />
<br />
</div><div style="text-align: center;"><br />
</div><div style="color: #660000; text-align: center;"><span style="font-size: large;"><i>Idylls </i>Showcase</span></div><br />
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<div style="text-align: justify;"><blockquote class="tr_bq"><blockquote class="tr_bq"><div class="MsoNormal">Mindscapes – whether the inner worlds of killers or saints, soldiers or sorceresses, Antigone, Caliban, a dancer stretching her legs, or a mother feeling her estranged daughter’s labor pains – spill into the theatrical space as actor and audience collaborate to create “a shared imagining” more vivid than any stage set.<span style="mso-spacerun: yes;"> </span>D.C.-based actors perform the technique of the “idyll,” character-driven poetic monologue as theater, with selections from poet and playwright Magus Magnus’ <i>Idylls for a Bare Stage.</i></div></blockquote></blockquote></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal" style="text-align: center;">Save the Date!</div><div class="MsoNormal" style="text-align: center;">3/20/2013</div>Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-76344018819541677452012-07-07T09:15:00.000-07:002012-07-07T09:15:46.659-07:00Slideshow for April 28th, CruMoPoPerFest in Waverly neighborhood, Balto<div style="text-align: left;">The links below can give you a feel for the course of the whole day in Waverly: Idylls with Stephen Mead, Sue Struve, and Genna Davidson; beatboxing with Max Bent; open mic poetry and music; plus sidewalk and side-of-building chalk drawing and writing. (My daughter Hero shows up frequently throughout the day, on the mic, and with the chalk).</div><div style="text-align: center;"><br />
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</div><div style="text-align: center;"><a href="http://www.flickr.com/photos/buddhakowski/sets/72157630363204304/show/">April 28th Slideshow </a> </div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div style="text-align: left;">Documentation by Douglas Mowbray, publisher of twentythreebooks, publisher of <i>Idylls for a Bare Stage.</i></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a href="http://crumopoperfest.blogspot.com/2012/06/april-28-2012-crumopoperfest.html?spref=fb">Cruellest Month Poetry and Performance Festival blog for April 28th</a> </div><div style="text-align: center;"><br />
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</div><div style="text-align: center;"> </div>Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0tag:blogger.com,1999:blog-6088681803727822205.post-24428910973099158222012-06-26T14:12:00.000-07:002012-06-26T14:12:00.171-07:00Laurel Arts Festival Photos<div style="text-align: right;"><div style="text-align: center;">Idylls in Action at the C Street Arts Festival in Laurel, Maryland </div>June 9th, 2012</div><br />
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The following are pics by Lew Lorton Photography, taken during the midday Idylls Sequence featuring Stephen Mead and Sue Struve.<br />
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<span style="font-size: small;"><b>Stephen Mead </b>in "A Bandit Plots a Murder by the Road"</span><br />
<span style="font-size: small;"><b>Sue Struve </b>in "A Native Chief's Captive Woman Guards One Freshly Caught" </span><br />
<div style="text-align: center;"><span style="font-size: small;"><span style="font-size: xx-small;">(<i>vide</i> Jorge Luis Borges)</span></span></div><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Stephen Mead </b>in "A Reveler Walks Home to his Family by Moonlight"</span></span></span><br />
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<span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"> On that Saturday, I had the somewhat strange pleasure of being two places at once, for the first time. In the flesh, in Philly, doing a reading for Furniture Press, publisher of my <i>Heraclitean Pride</i> and the forthcoming book-length poem, <i>The Re-echoes.</i> Also, here at the Laurel C Street Arts Festival, in spirit, and through the presence of wonderful performers who've given great time and energy towards mastering the idylls form. </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Kly9G2SJD-T9J2HkPZyNx1hHiPMfv-E1RzHndy1CEeqKY8alrhbBZpWh_67Fyqqe_4yh-mmJR5U51da0l_v8dn7eS2AnxS13gYt71PnOufzVVIdkzsUTjNzwibW122CjXIbElrlzjC0P/s1600/LaurelArtsFair_-0795718.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3Kly9G2SJD-T9J2HkPZyNx1hHiPMfv-E1RzHndy1CEeqKY8alrhbBZpWh_67Fyqqe_4yh-mmJR5U51da0l_v8dn7eS2AnxS13gYt71PnOufzVVIdkzsUTjNzwibW122CjXIbElrlzjC0P/s640/LaurelArtsFair_-0795718.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Sue Struve</b></td></tr>
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Sue introduced the set; with a copy of <i>Idylls for a Bare Stage</i> in hand, she conveyed to the Theatre Tent audience her experience of the book, the theatrical piece, and the overall concept of the idyll as a form, and as an approach to acting and theatre.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCV6xk5OKc_mbqqpfuL_hNFnqp7RYtLn7KDkdtZHScyTidH_yCyV1U2FmKAYl3xADHY7b2jpIWICST131nPXwntgWee2ql1fkybnSNWfC4aVWBkB7KFaIaXMOmnacZvzIIDBUpVYuzYNWr/s1600/LaurelArtsFair_-0795731.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCV6xk5OKc_mbqqpfuL_hNFnqp7RYtLn7KDkdtZHScyTidH_yCyV1U2FmKAYl3xADHY7b2jpIWICST131nPXwntgWee2ql1fkybnSNWfC4aVWBkB7KFaIaXMOmnacZvzIIDBUpVYuzYNWr/s640/LaurelArtsFair_-0795731.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Stephen Mead </b>as the Bandit</td></tr>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBqiNmfvr15OmSwrvvra449TGM7-9sjfFqOqTpRF77YDFigpw7dnDemH1Qce2dT2TWuNK-M7ng4xzVMyJ6cJMOpBG9ei__F8Uu9wLnLX6MerFOZTPsocFs20jJqhegJYaBNJiLNZ6Oi2V/s1600/LaurelArtsFair_-0795730.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmBqiNmfvr15OmSwrvvra449TGM7-9sjfFqOqTpRF77YDFigpw7dnDemH1Qce2dT2TWuNK-M7ng4xzVMyJ6cJMOpBG9ei__F8Uu9wLnLX6MerFOZTPsocFs20jJqhegJYaBNJiLNZ6Oi2V/s640/LaurelArtsFair_-0795730.jpg" width="512" /></a></div><br />
Since I wasn't there, I can only extrapolate based on rehearsals and the suggestion of the gesture, and his facial expressions, where Stephen might be in the piece. I'd say, near to hearing the screech of an owl. Or, somewhere within the delivery of lines such as "Other people's money. They'd have me slave and scrape for it all my life's worth, when I can steal it with self-respect."<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGW6RsK6nfqxeIQCg8Vnynq4nKjfxS0ctYNxokvK61CNDp3AxDHInriRg5xneMIcfjByGBz8EJfS9d3xeMfadF0EXbmmAG8X7miztCP-6HIU-FeHwFR7SZzXw3NPHcbWBqzjq1HK0r-qgd/s1600/LaurelArtsFair_-0795733.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGW6RsK6nfqxeIQCg8Vnynq4nKjfxS0ctYNxokvK61CNDp3AxDHInriRg5xneMIcfjByGBz8EJfS9d3xeMfadF0EXbmmAG8X7miztCP-6HIU-FeHwFR7SZzXw3NPHcbWBqzjq1HK0r-qgd/s640/LaurelArtsFair_-0795733.jpg" width="512" /></a></div><div style="text-align: center;">"...with that dumb, complacent smirk of contentment I loathe - that type deserves to be victimized."</div><div style="text-align: center;">? Maybe?</div><br />
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And then, Sue Struve as the Captive Woman...<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi95_VdCWg3HyGAAQsqRxMhEmXwfc5TFwiMveRZm8r7NXN_Ft6cD2RaxyckEhp3Swy29AqdLEPpRKnLI1-k9NgqycrnJ9dBJVyLvN5R66lxr0Zwwc3qxOVKMflJI0bCZRZzmvjGWRhJLcvi/s1600/LaurelArtsFair_-0795741.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi95_VdCWg3HyGAAQsqRxMhEmXwfc5TFwiMveRZm8r7NXN_Ft6cD2RaxyckEhp3Swy29AqdLEPpRKnLI1-k9NgqycrnJ9dBJVyLvN5R66lxr0Zwwc3qxOVKMflJI0bCZRZzmvjGWRhJLcvi/s640/LaurelArtsFair_-0795741.jpg" width="512" /></a></div><br />
<div style="text-align: center;">"I'm recovering them, these dream words..." perhaps?</div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWHoGLGxM3McwTrk1JTHm-EV12DYPS2jXg1mjIwCcFiEA6x_dNjDqBm8M9dUjSJJxzNmq6bQ_ZzfplkxXdYyRz5hVglpVoulIGjYulQIcJPZjCzgvhTBRfNkc9VHxZR2NelgmROdB6ZoO5/s1600/LaurelArtsFair_-0795750.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWHoGLGxM3McwTrk1JTHm-EV12DYPS2jXg1mjIwCcFiEA6x_dNjDqBm8M9dUjSJJxzNmq6bQ_ZzfplkxXdYyRz5hVglpVoulIGjYulQIcJPZjCzgvhTBRfNkc9VHxZR2NelgmROdB6ZoO5/s640/LaurelArtsFair_-0795750.jpg" width="512" /></a></div><div style="text-align: center;">"Don't be so scared!"</div><br />
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Stephen also performed earlier in the day, and <b>Harlie Sponaugle </b>did "A Mother Feels her Estranged Daughter's Labor Pains" (<i>vide</i> Colette) later that afternoon. Here's a shot of Harlie from one of the many outdoor rehearsals we did along the way. Photo by Jeanne Cherner.<br />
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<div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2E5P90YkCxt0xmJZX-X0JlJ0SQbGcMRf4DEmF9NCHD7iIBwLKF1V0vz_jMLPs9wZZ-O25tG28Ntj3Wk1VXwytw1OhbI7iNcU_giwu1p4rFM6AwAiSDrRZTYLDJTRg8_3U521q8A1KdDBW/s1600/072.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2E5P90YkCxt0xmJZX-X0JlJ0SQbGcMRf4DEmF9NCHD7iIBwLKF1V0vz_jMLPs9wZZ-O25tG28Ntj3Wk1VXwytw1OhbI7iNcU_giwu1p4rFM6AwAiSDrRZTYLDJTRg8_3U521q8A1KdDBW/s640/072.JPG" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Harlie Sponaugle</b></td></tr>
</tbody></table>Magus Magnushttp://www.blogger.com/profile/00415828817418815239noreply@blogger.com0