Saturday, February 25, 2012

tell me


She tells him: don’t forget to breathe. He, walking at her side with a leisure, breathes. Slow. She tells him, don’t forget why you came here. He thrusts his palms forward. They move their tongues against their teeth. She tells him it is a something-o-dontal. He tells her about a language called where everything came from and she does not remember. He tells her because it was the first word ever and she tells him she knows because she is saying it. He wants to give up, it is taking too long, he says. She tells him, stay. She tells him pick your color and put it in your eyes until it crawls over everything. He asks her can it move and she tells him it will if he wants it to. He tells her that he doesn’t have experience with the sticks she is always using to pick up her noodles. She tells him learn now. She tells him a tiny house is a concept for the chrysalis and womb but not for craftsmanship. He asks her does she have boysenberry anything and she tells him berries are only good for pie. She tells him berries are too round for her mouth sensors to find if she tries to eat one. He tells her hold it by the tail but watch out for the snout to snap her way. She holds it out to him, she tells him she doesn’t want it. He tells her would she like a highball and she tells him yes please extra ice. He tells her he put his thumb so far down a fishes mouth one time she tells him she could not it might ruin her polish. She tells him it was nice to visit but she has to shower the young birds. He tells her just a while more and her cheeks will swell with delicious notes of string and percussion. She tells him she hasn’t practiced since she moved out of the house on the lake. He tells her keep it keep it if you don’t like the taste spit it out but don’t wrap it in plastic and let it expire.  He tells her if she wants to try it don’t tell the neighbors. She tells him have you heard from them across the road and he tells her his account has been closed for three weeks. She tells him he is an accumulation of zeros organized in organic design. He tells her he doesn’t use electronics, he tells her why should she see the inside of his flesh if he cant swim. She tells him learn now.  She tells him holding a music note in a human hand is nearly impossible and he should try. He tells her he has paws with no thumbs. She tells him a baby rabbit was outside of her window one morning and she saw her father shoot a bullet into it’s baby belly. She tells him life is not always this wonderful. He tells her baby things are meant for mothers, not bullets. She tells him she eats the babies of animals, sometimes. He tells her does it taste good and she tells him no because babies are meant for mothers. He tells her his poetry is being read to the prisoners to keep them mindful of the world. She tells him she has no mind for poetry only cartoon drawings and he tells her drawing and letters are made of lines. She tells him her body is getting sore from all the sitting and he tells her would she like to dance. She tells him what is dancing but a repetition of average movement. She tells him all repetition makes it interesting. He tells her please write to remember the world. He tells her to write a letter to put it in her book of other letters except mark this one with a blue pen. She tells him to leave, that she must go to the young birds. She tells him does a letter mean more than paper and ink and he tells her no.  She tells him she will write, and if her fingers don’t stop she will keep going until she dies. He tells her his t-shirt lets the sun rays touch his skin and it burns until it is pink. He tells her he does everything to not let the rays touch but he is a human and programmed for error. She tells him error is a change in decision and he tells her he knows.

7 comments:

  1. This was a very interesting multimedia piece. I love the idea of voice-over. At first I expected you to literally dub in new dialogue, but quickly your voice became more of a disembodied narrator. There was an interesting contrast between the energy and lightness of the clip, the heavy kind of flatness to your voice, and the strange dialogue. The repetition and the flatness of your voice sounds like a recitation of fact, like you were calmly telling the way things were. But if I listened closely to the words, some were quite silly (“She tells him berries are too round for her mouth sensors to find if she tries to eat one.”), while others were very insightful and beautiful (“She tells him a tiny house is a concept for the chrysalis and womb but not for craftsmanship.”). I wonder what made you choose the clip you did? It would be interesting to see what effect the narration would have when paired with other types of clips. I think at times, the clip was distracting from your words. I wonder if it would be effective with something more abstract? Your text works well as a poem on its own as well.

    ReplyDelete
  2. I thought this was an interesting piece. I like the idea of the disembodied narrator voicing over the scene you selected, and I thought the writing was well done. I wonder if you experimented with the possibility of narrating at a faster pace, leaving space in between each phrase? I thought that might be an interesting way to go with it, but if your intention was to recite it the way you did, then of course it's fine the way it is.

    ReplyDelete
  3. There was a stillness to this piece that prompted my imagination to form so many connections as I sought to unify your recorded voice with the scene from Romeo and Juliet. Your language offered just enough emotional and sensory detail to be stimulating without being overbearing. You have so many lines that are gems, for example: "He tells her about a language called where everything came from and she does not remember. He tells her because it was the first word ever and she tells him she knows because she is saying it." I've noticed both in this class and in Carla's class last semester that you have a talent for packing enormous chains of meaning into succinct, simple sentences. I LOVE writing that strips itself down to words of common language, and generates infinite possibilities in a way that comes off as humble and understated. As far as pushing this performance to keep growing, perhaps you yourself could stand in the light of the projector, and provide some kind of in the moment choreography.

    ReplyDelete
  4. From what I saw of your performance in Professor Darling's video recording, your approach with this piece is quite similar to the work Konrad Steiner is doing, wherein he performs reconstituted/re-conceived "dialogue" over the pre-existing film work of another artist. (Just out of a personal curiosity: were you performing in front of the Zeffirelli R & J?) This is an interesting tack, but Steiner has not yet fully convinced me of its artistic validity; I wish I'd been present on the day you enacted your work.

    One thing that I truly appreciated about the text of your piece was the way in which you removed all the punctuation (save for the periods), therefore forcing the reader to more thoroughly engage with and consider the language on the page. This created some really intriguing syntactical disjunctures and made me wish even more that I had seen clearly what you were doing with the work in a live setting. This seemed to me to be something conceived of in the wake of our Beckett studies. Yes?

    Though this is really fascinating material, I did find myself wishing for a little "breathing room" within the piece; a little acknowledgement of the page's white space. Is there a motive behind presenting the text as an impenetrable block? If not, I beg you reconsider this formatting choice.

    I apologize for my limited analysis. I promise to be in attendance for your next performance. Nice work, Kay.

    ReplyDelete
  5. Dear Kay,

    I was also reminded of Steiner and friend's film narration pieces. I wondered if you drew inspiration from that when working on your piece. However, where in film narration it appears that a goal is to sync up the voices on screen with the voices off screen, the language of your piece had a disconnect between character and language that made it really interesting and a little more solemn (the idea of someone else's words coming out of someone's mouth has always seemed comical to me). The solemnity and disconnection continued in your tone. In the softness by which you narrated Romeo and Juliet's frantic meeting. Romeo and Juliet come together while their language disconnects. I wonder what the poem would feel like mixed with different backgrounds/ different choreography.
    Hopefully that made some kind of sense...

    Love, Monster

    ReplyDelete
  6. Kay,

    I really liked the dialogue between the two people, even though it wasn't technically dialogue. I would love to watch your piece again with all the technical aspects working, because I'm sure it would make it brilliant. I loved the idea of taking a piece of work (Romeo and Juliet) and changing it to your own means. My only suggestion would be making it a fluid file so you didn't have to rely on technology, because technology generally sucks and always fails when you need it most.

    It made me think of ways I can use other forms of media within my own work, gathering inspiration from things we see and hear every day.

    -E

    ReplyDelete
  7. Upon reception of my classmates/colleagues works I became entranced by a single word that I unconsciously associated to each piece. Now I don’t want these words to be misunderstood as entrapments to their art; these words are purely a minimalist’s interpretation of the works. So with this understanding in mind, the word that I intuited from your piece is…


    < Endearing >

    Your use with redubbing film clips was very interesting to me. How the language redirected the context of the movie yet, seemed to propel the film in its original themes at the same time. The execution of this performance was honestly something I haven’t seen done before. The richness and sincerity in your voice operated as an excellent backdrop/foreground to the visual performance.

    ReplyDelete