![]() ![]() "Thus it was not necessary, at this point in my plan, to have actually succeeded in making my prose writings into an anti-Teatro phenomenon. This is an extract from my current on-going review of the TEATRO GROTTESCO collection:. Strange, then, that knowing this fact I still acted as I did.” Nonetheless, I feel certain that for an artist to encounter the Teatro there can be only one consequence: the end of that artist’s work. ![]() “Whether this destructive force is a matter of intention or design on the part of the Teatro, I have no idea (at least none I can elaborate in comprehensible terms). Troubles with a landlord? Many writers complain about this, it seems. A Doctor that seems to me to have a disease for a name: Groddeck. And a boil in the shape of a purple woman. The story has an “abysmal resonance” (similar to an “architectural moan”?) and a “post-artistic” angst. Smaller and smaller hands as the photographer’s focus narrows and then widens out. I have a similar feeling about my own prose work that both magnifies and diminishes me as a person. ![]() This story (Theatre of Cruelty) seems to have an unavoidable curse, like “Macbeth”, a tipping-point between embracing and rejecting death (between embracing and rejecting avant garde art (Theatre of Absurd)). “Even I, a writer of nihilistic prose works.” “Soon he will know about the soft black stars” with “The Owls are not what they seem”). TEATRO GROTTESCO – the story is full of “Teatro stuff” etc & seems to be the most personal so far (but how would I know for certain?) and the most satirical (Cf. ![]()
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