[Doing some Front of House for TIFF really dented my blog production - I'm writing new stuff, inspired in part by Peaches and Joss Whedon, in the mean time, here's something I've been meaning to post for a few years now.]
One of the troubles of Dedicated to the Revolutions (and maybe many Small Wooden Shoe projects) was reconciling some of the big idea thinking with the often absurd, stupid and/or plain silly stuff that happens on stage.
But in this trouble is something important to me – part of the big idea itself.
A goal is to find a big thinking that includes the silly – one a little different from the “absurdism” of the fifties and the Dada of the 30’s - both of which are bleaker and more absolute then what I’m interested in – too close to nihilism / hedonism. That there is silliness and positive movement – that we can recognize and create absurdity and impossibility – and enjoy them – and move on them. (That is, not thinking that everything is absurd or impossible and therefore we shouldn’t act)
Absurdity can paralyze but it doesn’t need to.
And positive action doesn’t need to rule out or ignore silliness.
And the holding up of apparently contradictory positions and moving between them is one of my desires and a large part of Dedicated to the Revolutions. To put together disparate things - not in collage or to generate synthesis. But to propose that they belong to the same ecology - and while that’s tricky, unclear, provisional, temporary and fluid (all those protection words)
it is something we can talk about,
something we can sense (our senses can identify)
all of these things are present and that’s not paradoxical - it’s just true.