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SILENCE AND SPACE The New Drama of Jon Fosse Sarah Cameron Sunde W hen Jon Fosse came to New York in June of 2004 to attend his U.S. debut production (Night Sings Its Songs at The Culture Projectâs 45 Below Theatre) we walked through the park after a luncheon held in his honor. People were rushing by and he wondered aloud whether Americans ever take the time to do nothing. It was a genuine question about culture. For the first time, I realized that doing nothing might be our biggest cultural fear. Because if we were to âdo nothing,â it would mean we would have to take a good long look at who we are and why we exist. Personal philosophy is embedded in every word that Jon Fosse writes. He has a deep sense of what it is to live and be present in any given moment. Whenever I correspond with him, I am reminded that life exists beyond the hustle-and-bustle of my New York lifestyle. Instead, it exists in specific moments of interaction between people and with natureâin a glance from a lover or a stranger on the street, in watching the sea for hours on
PAJ: A Journal of Performance and Art – MIT Press
Published: Sep 1, 2007
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