Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Naught-o-Naut, In and Out of the Blue

Naught-o-Naut, In and Out of the Blue by conversations with spectators, in parks and community centers in New York City. She is currently writing a play for the Undermain Theatre in Dallas and is Professor of Theatre and Performance at Purchase College, SUNY. www.lenorachampagne.com Eric Ehn Nicely knotted; notable nots; interstices—lots, empty as apt: diligent ellipses. She makes good spaces (absents actively), but the lacunae are more than nega- tive shunts, more than arch ways of getting from here to there. Her mysteries, languors, her withheld breaths are dramatic and gorgeous—phenomenal nothings that charge direct experiences. In her scripts, the un-shown is rich in its own right . . . Watching a character wait, listening with characters for what they don’t yet hear, quark out dramatic instances for which conventional vocabularies are inadequate, and even unnecessary. Her ghosts and demons, oppressions and graces, are known by what they follow and effect. Rage and desire do not get the best of her. Politics evade reduction into pro- scriptive agenda; her leanings (tilts challenging balance) respect the mysteries of gravity. She suggests ways to tend that don’t proceed laterally from conscious will, but constitute as a tangle of personal forces (strong in their immediacy and weak in their http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Naught-o-Naut, In and Out of the Blue

PAJ: A Journal of Performance and Art , Volume 41 (2): 3 – May 1, 2019

Loading next page...
 
/lp/mit-press/naught-o-naut-in-and-out-of-the-blue-mRGIO0X00o

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00466
Publisher site
See Article on Publisher Site

Abstract

by conversations with spectators, in parks and community centers in New York City. She is currently writing a play for the Undermain Theatre in Dallas and is Professor of Theatre and Performance at Purchase College, SUNY. www.lenorachampagne.com Eric Ehn Nicely knotted; notable nots; interstices—lots, empty as apt: diligent ellipses. She makes good spaces (absents actively), but the lacunae are more than nega- tive shunts, more than arch ways of getting from here to there. Her mysteries, languors, her withheld breaths are dramatic and gorgeous—phenomenal nothings that charge direct experiences. In her scripts, the un-shown is rich in its own right . . . Watching a character wait, listening with characters for what they don’t yet hear, quark out dramatic instances for which conventional vocabularies are inadequate, and even unnecessary. Her ghosts and demons, oppressions and graces, are known by what they follow and effect. Rage and desire do not get the best of her. Politics evade reduction into pro- scriptive agenda; her leanings (tilts challenging balance) respect the mysteries of gravity. She suggests ways to tend that don’t proceed laterally from conscious will, but constitute as a tangle of personal forces (strong in their immediacy and weak in their

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2019

There are no references for this article.