www.loungeActneteditinghouse.com

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VOUCHING FOR A NET FIELD ACT

Michele Ohayon

From the Editor Michele Ohayon:

This editing house is the medium I chose to achieve the objectives I set for this site, as an editor and as a journalist, that is to say putting readers back in a realm of news through writeups with the effects and consequences long forgotten of a result logic, tangible results logic.  News readers acting on and for the news to have  an impact on policymakers.  A twofold ambition.

On the one hand, the ebooks edited here, or the articles that explain them, may, thanks to a conventional art palet and thanks to the writers talent or of the actors later playing the text exposed, bring a solution to the problem we are dealing with. On the other, these articles, these newsbooks, these biographies, these plays are shown through a window in the form of a magazine, with comments and critics from readers and visitors on how one can channel this problem-solving direction, a discussion forum without boundaries to express one’s artistic point of views or a critic, any critic of what’s exposed, especially the writing , the style, and the content, expressly geared towards Art and creation.

I believe that the passion generated by  news  is what unites both stubborn readers and casual ones. More over, there is an inner demand: that a problem be studied and solved.  It is then an avowed ambition for this site to publish and inform on those who contributed to getting a result or at least tried.  A second such ambition is its commercial goal.  It sells what the site exposes, the articles, plays,books, audio and video as well, or illustrated,  photographs and art from known or not so well known artists, and finally films on theater or documentaries.

I am convinced that professionnals will find this laboratory of ideas interesting to consult so one day there might be a full fledge editing house and that lay readers might just have fun reading and acting upon in an internet like convivial manner news that catch their attention while promoting theater and its developments for a growing committed public.  The plays and the concepts exposed here are a serious

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intellectual channel to do just that.  We will also write for children in a separate division called the Sorcerer’s Field.

This unique project regulated by the French and/or internet intellectual property law, is both experimental and practical since it brings forward the theater means, techniques and concepts, constantly unfolding, united through its writings and being its vector.  I am trying here to perform a serious analysis and writing task:  Plays can be submitted and published as such and/or can also be rewritten by me and the author in conjunction with recent news and research of the theme in question and put together in a format that tries to fit the playwrights needs and will and leaves enough legroom for my goals to be accomplished . 

Blessed or shocked as we are with our daily news grind, there only one step to an accrued interest in these news and their future set up in an artistic and literary context, with strass and pump, so that we give it out to read and see to the public in the strict or large sense.  Ultimately, the goal isn’t consequently a commercialization of art or litterature but rather an opportunity to authenticate these authors and artists endeavors culturally and historically, to give them a credibility and a form of identity one never find outside of the news realm, and to leave somehow their mark.  I hope to attract the attention of those of the politicians who find the problems of our times upsetting to the point that they might want to give a try at the multiplicity of energies and good will and thirst artists and authors are ready to clench.

LoungeActneteditinghouse.com is set up like a magazine illustrating the books it sells, and has chronicles, critics, news, interviews, editorials and profiles from theater and screen personnalities, such as actors and directors as well as simply, writers and editors of all styles and wakes.  I welcome the audience’s feedback as described above and more on our golden book at the moment for a larger adapted structure later.  The theaters are invited to make themselves known by proposing their banners and ads or flyers for exposure. 

Thank you.

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!EDITORIAL!

"It's In The books: A Road To Space From Earth, The Universal Net Field Vault"

IF there was  a new world that is both on the edge of theater and totally entrenched in news, it would be closest to the world wide web.  The virtuality of it doesn’t really matter, but its surreal stands do.  As you will never see in the real world what happens in this world, let ‘s just assume we do live in it.  We then want art, pictures, text and news, books and entertainment, fun and serious information, and sometimes some historical stances that would change this world whereabouts “forever”.  Something.

Why do we need entertainment from what is such a serious commercial window of opportunity?  Why do we only ask for fun where money applies?  Does it mean we must pay more for entertainment, for that kind of quality that is sometimes not even worth the screen it’s displayed on, why do we ask for fun at all and expect it  from a sometimes  fake, surreal world?  Can’t we generate enough out there? Is it because of the seasons of the year, winter, summer, discontent, the rain, the environmental problems, the sun maybe, too hot, not seen enough?

This editing house was born out of a necessity, this necessity to provide such skillfull entertainment, such crafted and drafted books,

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photos and films that they apply to the needs of the new world we are living in, and making people actors of a life of their own, giving and suggesting ideas to these entertainners who seem so enmeshed in their editorial lines, their own, that they do not see there are stories waiting to be unveiled, people to be seen and talked to and concepts to rise, anew, away from the dependent crowds, dependent to a system we no longer live in, or maybe still live partly in, divided by the very notion that we don’t belong in either of these marketplaces or that their conditions are inadequate today.  I believe the computer revolution we are undergoing is putting its mark on us, in such a way that those systems of rules seem out of date, making us robots or automats of a sort we won’t be able to differentiate from if we do not take the reigns ourselves.

Thanks to writing, constitutions and revolutions alike have been both emerging, evolving and put out of use or touch.  And even though reading and writing are the only tools kept alike, even the media have changed, sometimes in irreversible ways on a road to the end of their goals, becoming disposable puppets of the whole political spectrum for some of them.  Why not entangle theatre and news,  make reading a full experience and theater a way of life, not only through acting lines but through novels and books, as if they were theater books.  Rewritten in our news with our news, it gives a whole different outlook to life.  It isn’t surreal, it isn’t news, it is just a new development and that is what counts.  New ideas, new acting concepts, a real, "a brave new world”, a conqueror for new venues, based on those old recipes and trade techniques, the advancement of litterature, and its letters of nobility raised to an art, where history has so much to do with it  that we feel a part in it and not transported in a dimension from which sometimes we don’t come back intact. 

The internet is in the concept the dimension, we are safe, and the book we read here reunites elements which if they do not shy away from the truth, tell however our lives as they ‘ve been seen, not through televisions ’eyes, not through a filmmaker’s lense, however soon enough, but simply through those of such skillfull storytellers that we do not need to travel.  We just want to unveil it and work within it, decode it, decrypt it and use it for the betterment of a whole, our whole. To me, what matters, is not one voice, my own as it may sound so far but a plurality of voices.  An audience may revere in plays but what do they bring home when the play is over?  What does stay in

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mind after the flurry of shows one sees in the course of a semester, or a year?  What should stay as a twist to follow an actor, a director, a writer? As simple as it is, the script, the text, a line.

Does it happen ever except for those hyped mediatized authors the press loves to adore one minute or two? To me and as visual as the american market is, as influenced as it is by hollywood movies, and television and politics, that is where the fault might lie.  Text is crucial to understanding a visual point, without a concept within a text, a visual, however good it is, seldom works, it is even true for comics supported by a line or many lines.  Text has started to lack substance and is often based on  a web of references to which we are well acquainted and as lazy as one can be, and who are  easy to undertake.  I think substance and essence in a text, might help advance the demand for more than a visual, for an ensemble rather than a onemanshow. This web of references, visual ones,  is a show for some and a well without a “net” for others.  If you keep using only visuals, only demand for films will rise and theater might stay stuck to socalled essential writers whose message we ve pretty much grasped through politics a long time ago, when it was, a century or two ago, the next hype and did not evolve, as to what I observed is the case now. With all due respect to Shakespeare and his likes,  we need writers adapted to today’s needs and history and social developments.

News is everywhere in any text and its strong inference stays, whether you show it, whether you speak it, whether you photograph it.  Fiction could and should be a safe haven and not a sort odd entanglement in which only if we ‘ve seen its previous stance somewhere, anywhere, we can follow.  News has it that it develops infinitely.  So should fiction,  one book only could be a necessary entanglement, one, yes, only one book could be a base for other books if any, as in a core, a sort of pearl  that is just starting to develop, and getting colored, and adapted to the size of its shell and of the sea elements around as much as it takes from them.

To me, the world wide web is not ever to be likened to a spider’s web, as the buzzword has it, but rather to the sea environment and to the many and multiple factors, elements, fish, plancton, fights for survival and goalong daily travails of all its inhabitants, etc, an element that takes us slowly with the evolution of technology to another development, something other than the worlwideweb, the

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next invention of this new century, maybe tomorow, something engaging enough it will adapt smoothly into the 21st century, what I call and have researched and found to be something environmentalists might like to engage in, a physics based entanglement of sorts, sustained by the magnetic fields theories and the wireless possibilities, and the sea currents  and the wind currents in earth, a road to space from earth without moving from one’s living room, as real as can be, the universal net field vault, UNF.

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!A READING CHRONICLE!

Authors: Rewriting History From Any Draft: Works of Art and "Maitres d’Oeuvres"

A Play and a formal book have no structural links between one another from the start.   They both stand out in their own right.  However I believe they are essentially linked to one another as litterary forms.  They basically both are written in prose.  Whatever its shape and form, writing in prose allows access to the apprehension of a literary work because it substantiates it.  And isn’t prose first and foremost litterature? Or is it? This notwithstanding the fact that a play in  prose is only articulated, likened to a puppet  which strings an author pulls to his highest likening.  Whereas in a book, these open arcanes are drown in an excess of artifacts and in  what appears structurally as a smorgasbord of words and ideas, sometimes supported by a strong content.  To me, lines and dialogues are the sole architecture of the book and they ought to be embellished, heightened in such a way that the reader is taken, taken in the meanders of one ‘s own inconscious or elsewhere

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in a spreadout world deriving from imagination of from reality... taken in a book. Pertinent questions would be then why do lay readers read less plays than books, why should reading out loud and acting out theater texts be reserved to sole actors, why couldn’t it be fun to play with those informed words as much as to let them live in our universe and passively influence each and every one of us? A role  body and mind would both play in which the body, the mind, in synergy, project some craft as we recognize on us the meaning of those written words. Likened to dancing with words. Such is the role of a play, to incite to acting, to move, to try word play, to stimulate imagination, to provide pictures and sounds that translate into immediate action, rather than into soon to vanish images left hanging after reading, as is the case in news. Now another question is if we make the news by acting words out and playing them,  is it then necessary to resort to artifacts to speak of a newsy subject or to direct it? To be on stage to do so?  In a play, there is also ample room for a collective of such projections, it is even probably the place that allows it best.   We are then becoming a whole, an ensemble of sorts where a play federates beautifully this collective on a emotionnally charged theme, on a set of connections, a uniquely cut photograph, as in a movie.  However, its role is less limited than the film in its consequences. All these media are competing with one another, with this exception that a play to be visually complete must attract as many different people as there are shows, with the avowed goal of concentrating their attention on a live stage, on a written text, often with its faults, and most times with sounds, lights and moves. Off and off off broadway shows are an example of news molded with litterature, with many references to New York City cultural mold as a whole.  If we speak about the detention conditions of a political prisoner, it should only be necessary to describe his state of mind with the least means possible, a respect of the artistic conventions as well of a difficult subject that refutes pump and strass. Motion, emotions. Here, with all these references to dictatures and personal traumas, only news, this piece of news hangs in there. Visually, and this is where they reunite best, these media project those literary references an

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author cares a lot about and that a director will mold with his own style, so we might be able to say the play may depend from the book to be seen and on all the other media to see its shelflife expectancy extended.  Leeways, stagedoors!...  Aren’t we, as movie amateurs and pop corn consumers, taken, fascinated, mesmerized?  It could seem, as I realized,  that connecting one’s personal affects to a movie script and pictures only generates a form of adamant passivity- (usually actors for fear of being taken for fools or loonie beans most times refrain from street shows, let alone people).  The passivity of those who watch and that of those who use it, as if the use of the scenes or of the script, who form a dependent whole, was for those who chose to expose them to us, an instrument  quelling those reactions rather than transfering upon viewers active movement, because the pictures and their  effects or  the links to our lives always look ephemeral and superficial however striking for the imagination, as if only the text generated actions, our responsible  actions.   The question is: is this use intentional?  Is it a test? The reason for this lies in technicalities and also in the fact that daily life doesn’t provide such grandiose settings as in the movie industry.  There follows then a banalization of the script that translates only into the hope of having created an effect or an impact, such a message line that it stimulates the audience’s imagination and creativity.  In this case, a theater play gives  a better leeway to those purists who want to keep the author’s message identical to what they know they’ve read and its consequences, giving a sort of profondity one knows is not found often in the film medium. A seat!

A book lays claim to confort, relaxation, rest.  Its success usually demonstrates our society’s level of stress, a society in which we mostly are passive in front of our television set, or in front of  the show of our lives.  A book always seems to provoke or allow animated discussions, mind play, sexual games and many of some  oddities from a collective or an individual’s standpoint. Whether they are voluntary or inconscious, you can’t escape them.  Insurance guaranteed for some out there... 

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Such a vector should then appear as  imaginary directing and is likely to be likened to a capture of the author’s mind rather than to the subject of the book itself, that prisoner for example. But it shouldn’t be so. A book needs substantiation of a subject, it is its constraint, it shouldn’t expose a idealized approach of an author’s style and mind.  The success of a book shows the willingness of the public to know distinguished individuals, to make them icons of a generation, to give birth through a prolific imagination to crowned standouts  authors and myths whereas the play analyzes social, political, cultural ills for an informed  collective, to expose a given problem et try to solve it collectively either  in an  instant soon to be forgotten-in one’s mind- or in the hope of a coming immediate solution.  The play  appears as the best alternative for such content and effect, and  as  a concentrate of news, a newsmaker, news, at the text level. The news media is the reason  why books and plays  can’t be always labeled as literary forms if their content deals with news.  If we like  the writer’s style better than the story itself, it becomes a show for an author’s show, where the defense of a theme, a line initially undertaken by an author to provoke consequences, fails with dramatical effects, that of forgetting about the real subject on the one hand, and a pinnacle of celebrity for the author on the other.  Which of a subject or an author is most important to discover? Vain. However, they are productions of the mind and literary works, dependent in the following way:

  One can adapt a book into a play or several plays, opening the literary possibilities of what first amount to apprehension of a subject and  worked upon to the utmost as text or many texts edited for the result of obtaining  skeletons of a book if you will,  called  plays. And one can adapt a play into a book, wrapping it up into the fabric of the book components and writing techniques, sometimes helping better to the comprehension of the intention of a playwright who thought he didn’t need more than mere content and simple dialogues to be played upon a stage.  Also this succeeds often because most often audience reactions stem from a play better than from a book. Live.

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The main question is that all these literary efforts appear vain.  The government stays rather neutral but is passive in front of the abundence of the production.  Is it a chosen stance or disengagement towards the artists while funding them artificially, as if art as such doesn’t call for commentary? Every artistic endeavor should call for reactions, a book most often, contrary to the early 20th century golden era of all things litterary, is not a work of art, and despite of the way the book industry is structured, most noteworthy box office successes deal with somber police and crime stories. Even if all efforts lay into facilitating access to knowledge, including access to the press, or nearly all of it for free on the internet, why is it that the latter doesn’t get positive results from all those discussions about such serious subjects as human rights or justice, or even from serious articles in the socalled highly respected press to whom a mandate given by the government makes it a duty to discuss and solve these issues. 

Has our press failed us?  Why, because we’ve missed it?  It looks like there are no sacred cows and there is even less impact no matter the public stands  these journalists take.  Has the public left the debate arena?  Who has replaced the audience and to which extent is it useful to read, who  this genre is serving?  We didn’t miss it here. Why does passivity read like the maitre word of a farce that stops nowhere in sight?.  There is actually  a real lack of interest for issues for which there should have been a flurry of indignant and feisty arguments.  A written text is and must be much more than what it seems to be today, a sometimes vain product, hanging on a shelve, waiting to be recalled for lack of political correctness or for cultural reasons, or because of whatever the hype may be at the moment, for all to see and revere in the argument of its one minute one time hyped up act.  It must exist somewhere else than in a well-net, it must generate action.  It is its primary mission, its essential role, in and for the most positive of the senses.   And going global.  

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/Backstage Links/

"Stuck in History Lessons? Comes The Advent of A Gesture Science in the Theater

and Internet Ages"

Theater is indeed an art in itself managing both body and langage, and both thinking and soul.  These four factors are essentially linked, they constitute the four conditions with which a text is synonymous to signifying and signified.  The spoken text tells the signified, the written text reads the signifying.  What it means is that told, a text allows the body and soul to act in sync, and written, allows thinking and langage to act in synergy.  Together, these four elements form a ballet, a show from which the viewer gets out under a spell of sorts, always  impressed, never passive, on the go, waiting to react.  The sum of these acts, of these scenes, constitute a sort of mathematical suite in which we are subjects, where we sail, from one actor to another and from image to image, from  line over comment and  from the beginning to the end of the show.      Sometimes, the text is not that visual and the actor’s work renders it, if the text is not that rich, the acting still compensates for the viewer’s

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thinking.  Dignified toys of actor’s thoughts and bodies, we embrace a bit of their souls during the show.  Getting out of our seats, and of the theater, we give that bit out to the world through sheer enthusiasm or disappointment, for all to see.  If only they knew.  How many of these author’s souls, beloved written sentences and carefully chosen words do these actors possess within them?  Is that, here, on the game table, the sum of their careers,  show by show?  How many of these words still resonate the day after a show, a week later, a year gone by?  This is basically what viewers have really captured, a photography of sound, a resonance, a noise with substance putting us on the dreams or reality trails.  How do we then connect sound and image so that the memory isn’t more affected than it should?     In other words, worn out by daily stress as we are, worn out by the multiple sounds and agressive and powerful images, with sometimes dramatical consequences for the emotions they often are charged with, such a capture could constitute something dangerous, especially in shows that are sometimes such delicious concentrates of entertainment.  How does one laugh or think when all the while people disappear?  It would be preferable that these sounds be positive and generate reactions.  If we consider  the fact it is entertainment, the uneasiness may appear mundane and be attributable to other factors than the show itself, when the latter could be solely responsible for it all the while.     Here enters Art on caps, our own active Artistic part.  As drowned the notion may be in this dimension of the guaranteed  success of a show, this magical perfection of the acting seldom suffers faults because of the committed work of the cast, the rules of a trade that demand this perfection and the sure hit it is going to be.  We often tend to forget that these actors are first and foremost artists when they’ve often become the overdimensioned  sum of their parts, VIPs, “People”, because they’ve either succeeded in the eyes of the public, for a show, after enthusiastic articles or after unanymous applauds show after show.  That active artistic part in us that awaits an answer from the actors, from the show, never gets it at the individual level, that is the nature of a show, but rather cut away under one’s foot by the press  that tells that success in our place, and only lets us be questioned about what we’ve seen by the media. An uneasiness of the sort which makes the difference between a “commoner” of sorts, attached

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or not to a jovial consensus orchestrated by some partypoopers, and a trained actor.  The internet, who has allowed the blogs tidal wave is very positive in this sense and announces the disappearance of collective interests, those usually there to unify the masses, to the benefit of the individual who takes charge of his own.     Is it there a condition of the disappearance of this uneasiness?  In the internet, we become artists ourselves without any intervention of generality and of masses and of plurality.  We become enmeshed either into our own emotional charges, or into catharsis through writing or into the development of one’s own knowledge for a chance multitude, a collective of people often rather interested.  This allows a real artistic potential to express itself and to get wrapped up into the trades of those, versed in cultural statistics, and often interested by all things new such as new markets, be it avantguard or mainly conventional.  The latter allow us then to be recognized for an added value, be given a personal signature, without here any consideration of lobbies’ rules, such as those of movie theaters or theaters.  If charged with all of this, we have the ways and means, as informed as we are, to refute, recognize and let go of this uneasiness, we are fred of it.        And this is not the only thing in question here.  We then are taken away from information stress, and that allows us to act consciously on other things than this very potential, this leverage of sorts, so that we let go out of selfishness, that nightmarish devilish side of all things artsy.  We are really here talking about an artistic command, for us and for everyone connected to us.  It is a command of the sort that proves it is not necessary to conventionally question ourselves on the utility or futility of that artistic path, but rather to act immediately on one’s inner feelings, and waste no time acting as if guilty of an escape far from everything, we had forbidden ourselves this entry into a dream world.  To easen up on future counterarguments, it seems that this acting ill, this deaf guilt, is far from dissipating given the diktats of public opinion today, which doesn’t mean anything else but the public and its opinion, as diverse and colorful it is.     It also looks like this command, channeled by the multiple flows of informations and the use of it done opportunistically and socially has destroyed the potential it revealed.  Those who pretend to give history a lesson are not those who make it.  That hope of change the internet

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triggered has been levelled off by both those who make and extend internet rules to the a state of non entity until it is regulated  and those who pretend it was put to use for the benefit of everyone, as if that return from investment had been far from recovered and that it was left abandoned and dangerous for whomever tried to make the use of what it is it promises, for all to see. A 21st century noman’s land unfolding “Mad Max' ”' script in the streets?  And also a  somehow cutout vision of politics and of governement deadlines has replaced the individual energy gatherings, be they contesting or not.  This dynamic, which conditions have changed again with the internet advent, used to disguise under trade diktats or trade lobbies.  There also was that possibility to be noticed like those models recruited in far away countries,  unlike in a street show, cultural manifestations and appearances in television shows, but thanks to one’s photogenic quality’s and around it.    The internet proves to be partly like that: Everything could be a pretext today to photography and many abuses to its laws are reported about every day, indeed: stolen from a riot, we show in a picture who we are by a body, a picture of our mind through our body language.  We speak lines through chance walking.  And we expect to be listened to.  A bit difficult to apprehend if one is looking for someone unique and original.  Is it a desire for celebrity or something more profoundly connected to a form of press which is itself a sort of orchestrated revisionnism, because through the homogeneity of these pictures, in their wide success, we don’t escape  the rigorous uniform nor the systematization of a system of voluntary body moves, or a move, which always means the same thing, through the wave of duplication of the model shown, something to recognize and make an icon of. There is no more discourse, just “songs of heroic deeds” and a jump backwards in the cultural beams of the middle age and in an era caracterized by a ritual danse around a campfire.  This long moving line of mannequins coming out of their plastic shell renders the house of dolls useless, triggers more crimes, and a calculation in real time of the time, place and action unity criteria.  It delegates to Ken and Barbie a mission, to unite their troops tranparently.  This is the picture of the street today, showing off a support for some “People” or to our goodfaithbadfaith system along with  many other systems of choice.     These professionals, given our ephemeral tastes, should rather be interested by the consequences of these choices on the building of a

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new system or the reevaluation of the preceding one-these being the values of our sociey today and its economy too- rather than on the destruction of this reproduction to the identical, unefficient for its value of indefinite product, its value as double and copy, which has gained its public anyhow.

Did the journalists really get on this path without defiance, did they make of it the ideal marketing product, thus sending advertising and its advantages to a wall of the sort even the antiques markets or “Wally’s” likes would have  nothing to envy to?  Deshumanization, a corollary of all things being doubled, is, as wine is tapped, seasoned or seasonal if you will and so goes the game.  An  end to oral communication, the vain advent of most visuals, a futile and useless “in”-representation, and finally the advent of writing thanks to emails.  At risk of becoming as useless or indispensable as this giant energy leverages.  

What is then the  future of theater and of the written text?  Cellulloid doesn’t gear to the modern and stylicized forms of  the letter rigidity, of A letter, which means as Dali wouldn’t have contradicted, we wouldn’t have substance of which to talk about, and language, deprived of its visual forms, would remain in our discourse a form of residue, a form of an arcane deprived of its substance and concept, a desincarnated structure collapsing.  Cellulloid must remain in the windows and as such, our dynamic is ours and it ought to be individual, and certainly not to the detriment of our mental and instrumental structure, this which has to let go of the rythms imposed by our frantic race to politics or to consuming and celebrity.  On the internet, the more you consume, between products, readings, blogs, sites, informations, rules, laws, and more, the more we are at risk of accentuating this era of the pose in which it is a text.   One shoudn’t forget that the main leverages there are writing, the base of any published text rests on its content, which as text must do attract readers and their reactions in sync, especially so to that extent.  Does the internet then accentuate the uneasiness cited earlier?

If it were the case, theater and its rules would do more than serve a public at large and would be here the least of  contentions.  In as much as it is theater, the artistic part of the theater content and of its body

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language brings a solution to the difficulty of a text, by extension the theatral text and subtext, and its untold part, and also its psychological and psychosocial interpretation, etc.  One has to be technically enmeshed with theater, an actor,  to tell a text, it is still the quality recognized an actor, to serve a text for the world or the public.  Unlike in the written text, where the writer is his first and foremost public, the actor makes this text accessible to a group, serving the logic of the train of  thoughts  consequences.

It matters then here to render the written text its place as a relay of sorts, a sound and visual relay adapted to the theater thinking in a conjunction of links which the press echoes and that instead of behaving like models of a day a tv camera would adore to immortalize with a goal unavowed and often disputable,  one should adapt our visuals and gestures and poses and mimics to a situation in which we exist as formal minds, thinking and reflecting, and as bodies which drive is reaction, a intellectual dynamic of movement and not physical or superficial anymore.  A vision of meritory and thought of  effort, a structured one, staying all the while spontaneous enough to help solve the problems that other beings, of flesh and blood, suffer not to be able to get rid of, as of a coating of mud, such as poverty, illness or existential suffering or at a larger level of political dysfunctioning because of this programmed broadcasts unadapted to the largest numbers, we as six billion individuals and more in products.

An artistic dynamic in this vein seems to mean something, to produce links, to have a goal that could be educational without being ordinary or stupid, and become a success announced rather than being geared for the failure of the free rides that these show offs constitute, easily identifiable.  Theater can and must serve these contentions.  We could and should hope to banish any philosophical vanity from our gestures, and hope to escape its collateral, fame.

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/ZOOMING IN ON/

"Inner Stage News out of a “Theater Book”: A Conceptual Axis Around a Play and a Novel

AVowed, the ambition to create a "theater book", a different book from a play? Certainly. The difference between such texts lies in more than an ancient author’s verse or contemporary prose. It in fact stands in their edited message, edited for the audience expectations and for impact. It then matters that through the book a theatrical purpose be given the public so it acts on it or consults on it. A real chance game that depends on a multitude of people, an audience  soon to be unified through the stage, in which a series of acted scenes will reach their climax through an audience’s opinion, a quantifiable or general opinion, never systematic.   We are not here dealing with a system, nor a recipe, but rather aiming at reaching the kind of authenticity of the sort happening between a cast, a text and its audience, and this lasting as long as long

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as the text is played.  A text implies a consensual interaction, impartial, democratic and impersonal and the acting pushes for an apprehension of it, whatever it reaches at.  Most adapted texts are changed a second time through an actor’s interpretation and the stage directions, sometimes dramatically and with no balance in sight.    Be it through the actor’s interpretation, through the settings, the stage directions or the intimate vision of the director, a difference, sometimes not so subtle as it should be can be noticed, and this is where creation, albeit questionable, occurs. This can also be understood for news. News imprints the way the world functions and nobody seems to be protesting. Don't most writers' styles change subtly the intent, meaning or goal of news? Had it been admitted that each theater author is also entitled to do just that with his play, voluntarily, and that liberating through what I call a theater book his inspiration on the whole play, he would have become a master of a body of work in his own right, not what amounts to a mix of lines and moves charged with content we sometimes fail to find profound enough, but a real book, yes, a book.   An author most often has not dealt with stage directions or their psychology even if hints in his work help carefully chosen directors to display and make of a play an orderly work. My purpose is not to make of an author an all powerful figure in a cast. Rather that he takes charge of his vision of his writing at the closest he can.  His play then wouldn’t be filled with directions for the stage, it would rather and that is the challenge for any author, control the inconscious, his own, mixed with that of the actors interpretation anticipated, identifying  through rehearsals this intention of actors to appropriate the text notwithstanding the author’s intention, recognizing it and harmonizing his needs to this “fact of human nature” to a point where it suits both the text, an audience and his own needs. If one considers such smooth dialogues, one or some actors chosen to serve the text and villains for balance, a stage direction magnifying it and a content so thriving  it doesn't deter the public from entering that litterary waltz  he is invited solemnly to carry paroxystically, he is insured of both box office and charismatic  successes.  This is the role of the theater book we are creating in a general sense.

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Enters news.  It could be useful on several levels to apprehend it like if we were considering highs and lows in audience needs.

-Those of an informed and prepared audience -Those of an audience rejecting information flurries and many stresses and  just demand easy entertainment-Those of news so exclusive and so informed and well read that it might just escape this control we were talking about earlier, a control of the mastered conditions of stage constraints.  Those prepared viewers litterally forcing an actor to find in himself the conditions in which he can best stay close to the author’s will and to use his vision  through his acting, right there, on the stage, a lively interaction that questions live, an audience consciousness, and also to question what  is the opinion they might have about the play and then later discussing it, thus having a clear idea of what these audiences really need and want to see, a manageable desire acted upon and  becoming a need naturally, be the play a drama, a comedy, etc. These live interactions seem to be necessary to find the direction in which to look for a solution to reach an almost perfect, fit for sale finished product. That way is  usually either suggested with stage pump or through its essential stands,  those artifacts a director finds and goes to for inspiration. Or those a viewer made an active critic, not passive in front of the informations that come out of this final product,  what I call inner stage news. So we can see then the theater as an active setting for actors, or a way of revealing through the  collection of these informations hand in hand with the viewer, winning over that dictature of the critics, some of those journalists who put most shows arbitrarily on the side because their filter has eliminated these from a list.These are the consequences of creating a “theater book”. Moreover, the real axis around which this book articulates is the novel, the novel as the writing starting point.  Novels tend to be short, organized and that specific format of a book, quite abundant and carefully chosen is the closest format to the concept of this experiment.  It needs for ancient texts, rewriting and adaptation and for contemporary texts, a stint with poetry.  It can be adapted to a dialogue form or played as such, under the guise of experimental theatre to qualify it somehow. 

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It is quite close to this image of our mind listening to dialogues and recomposing a story, a book of mental images based on sentences, as happens in dreams.  Thus here, creating this book can be likened to creating a mental book that is orderly, structured, has a beginning, a middle, an end, and besides the fantasy or supernatural dimension of the dream or the nightmare for each and everyone of us, it fits the theatre operating modes and opens up a window on the mental field perspective, not through action as usual upon it but through the relaxation caused by this extension on the stage, its exhibition, in front of us, live.   The author, the director and all energies combined then reflect it right there on a stage, this collective mental image or individual one that belongs to each and any one of us and that we must either degrade if it is close to nightmare or upgrade if it deals with a marvellous world.  And many other things but it should then be up to everyone individually to decide.  Ultimately, we can analyze and interpret it ourselves thanks to a foreign element, this new text we hear, and finally enters the  sound dimension-this will be discussed in an article on Broadway Musicals- or we can see it done by the cast so that we can discuss if this image has been built rightly or not,  a real interaction. So a novel as a new psychological, sociological, social, or experimental interpretation field for outward and inner news- through theater-  is the object of this discussion and rewritten or not, directed and played on the stage, stays the goal of the theater book we created here, a new concept.

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!MORE TO COME!

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