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Demon of Experiment

Demon of Experiment Demon of experiment Susan Tenneriello Beginning of the End of the . . ., David Gordon, Pick Up Performance Co(s), Joyce Soho, New York, June 1–30, 2012. he Leading Lady dances. All the characters always dance. They do when David Gordon sets to work. The mischievous writer, director, and choreographer mashes up a Pirandellian whirlpool in his latest work Beginning of the End of the. . . . With real-time leading lady/wife Valda Setterfield and masterful cast of his Pick Up Performance Co(s), Gordon loops fifty years of art/life around Luigi Pirandello’s transitory theatre of life. The rhythms of this incongruous confection pour out of Setterfield and Gordon’s intangible partnership as they stir up Pirandello’s wandering souls bounding out of three texts: A Character’s Tragedy (1913), Six Characters in Search of an Author (1921), and The Man with the Flower in His Mouth (1922). Fluencies between fictional dilemmas and personal foibles forge a wellspring of uncertainties. In characteristic fashion, the ingredients are chopped up, tossed, and whisked into choreography of sound, sight, movement, and dialogue. Never sure where Pirandello leaves off and Gordon comes in — and the inverse — theatrical ruse churns away the edges of . http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

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Publisher
MIT Press
Copyright
© 2012 Susan Tenneriello
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00127
Publisher site
See Article on Publisher Site

Abstract

Demon of experiment Susan Tenneriello Beginning of the End of the . . ., David Gordon, Pick Up Performance Co(s), Joyce Soho, New York, June 1–30, 2012. he Leading Lady dances. All the characters always dance. They do when David Gordon sets to work. The mischievous writer, director, and choreographer mashes up a Pirandellian whirlpool in his latest work Beginning of the End of the. . . . With real-time leading lady/wife Valda Setterfield and masterful cast of his Pick Up Performance Co(s), Gordon loops fifty years of art/life around Luigi Pirandello’s transitory theatre of life. The rhythms of this incongruous confection pour out of Setterfield and Gordon’s intangible partnership as they stir up Pirandello’s wandering souls bounding out of three texts: A Character’s Tragedy (1913), Six Characters in Search of an Author (1921), and The Man with the Flower in His Mouth (1922). Fluencies between fictional dilemmas and personal foibles forge a wellspring of uncertainties. In characteristic fashion, the ingredients are chopped up, tossed, and whisked into choreography of sound, sight, movement, and dialogue. Never sure where Pirandello leaves off and Gordon comes in — and the inverse — theatrical ruse churns away the edges of .

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2013

There are no references for this article.