The Daily Revolution

i'm not sure what i should do. i know i shouldnt be alternately and uselessly steaming, fuming, guilting, fretting, knotting. I get mad at her when I wonder to myself if her tongue is as metaphorically sore as mine from bite after bite out of respect and tolerance for other people's lifestyles. I seriously doubt it. Then I get mad at myself when I think of how I basically forced my company on her and her friends on Monday and then inwardly cringed and outwardly frowned on every single thing she said and did. And even if I didn't, that's how she saw it, and I should be able to prevent that. Gah. If nothing it's yet another lesson in not being judgemental. Ironic that she of all people should fault me for being judgemental, though.
Well I can't keep running through our conversation this morning and scripting my responses to her accusations.
Damn you blog, you're supposed to release me.
And boy were they accusations. I don't think she sees any of it as her responsibility. It's all my fault. Why should I take that? Why should I waste my time on that? Loyalty? Guilt? Debt?
Disgruntled and unbalanced I am. Hungry I am too. Perhaps that has something to do with it. Looking forward to 7:15.
Nina i know you won't read this but if you do, know that I am tied to you as a sister by destiny, but there is only so much i can pretend.

There exists, in a society of any given time and place, a revolutionary force. As varied as the manifestations of that force are, and as laden as the term revolution is, for the purposes of exploring Theater of Revolution, let us identify the Revolution as a movement that recognizes and resists the institutions of an unjust world, while discovering and creating a just one. Let us further state that the principles and values of the Revolution are those that I see as guiding the current global justice movement, an ambiguousness which I will clarify further. Thus, in this exploration, not only the concept of Theater of Revolution will be put up for critique, but also the very definition of revolution. Any work that tries to actualize Theater of Revolution must parallel a) the resistance, and b) the creation in both its content and its process. This work should not only compel the participants, whether spectators or makers of theater, to think, as all good theater should do. (?) It should not only compel the participants to act on the issues at hand, as all good political theater should do. It should turn the very participation into the action, in other words, turn the event of performance into the act of protest. The act of protest should encapsulate the marriage of resistance and creation in a manner in which the ends and the means are consistent. In converging the performance and the protest most effectively, the theater maker must decide to what extent they will make explicit the resistance and creation that is most often implicit in theater in such a way as to overcome the ever-present obstacle of the tension between aesthetics and politics.

lysistrata project: march 3?
global. the act was the protest itself. spelled out in other literature. can it be done without spelling out?
taking the steps of the temple staging it as part of the real takeover of a building.
examples of extremes. Cherrie Moraga or Naomi Wallace...(One Flea Spare and??), Victory, as examples of the right synthesis of the two.. but thats still number 2.

the web logout timeout thing was really frustrating me. enough with email. if i can finish it tomorrow i should be ok. at least now my inbox isnt jammed up. that was ridiculous. mostly email address entry forwards.

so theres still a chance i can enter a paper for the performance conference. what the hell am i going to write about? some brainstorm.

ask. state. demand. terrorists. falsely accused. transport to situation. how to turn it into action.
gah. cant do it without some kind of guidelines. will wait for more info from kk.

1755 Rivals, Richard Brinley Sheridan part owner of Drury Lane, Member of Parliament when?
Became a recognized actor shortly after David Garrick also rising to fame. Garrick is a cad. Support to Sheridan later in life.

1789-1843 In London Patent theaters, monopoly, legitimate plays, etc.
1788 Enabling Act gives magistrates authority to basically censor.
Lord Chamberlain censoring dude

1808 In London, destruction by fire of patent theaters
Faust, Goethe. Tragedy or Musical Comedy? "A Romantic masterwork precisely because it explores a wide variety of polar opposites without resolving them." "Blending of northern European and Greco-Roman mythology"
God. Human Nature. Death. Education. Witchcraft.
Laudunum. Opium in water. Renaissance version of aspirin, also suicide tool.
Poodles are large shaggy dogs, not little bubbles of hair tied up with silk ribbons.
Walpurgis Night is the eve of May Day, sort of like Halloween. Goethe spent a memorable Walpurgis Night of devil worship in the Harz mountains.
Other important versions, Christopher Marlowe, Gertrude Stein, Liszt (musical)
Good study guide for Faust: http://www.wsu.edu:8080/~brians/hum_303/faust.html

Transition
1802 Hugo born
Minstrel theater, arose between 1822 and 1828?, spike lee
1822 V Hugo publishes his first volume of poetry.
Victor Hugo super political Bohemian dramatic poet
1830 wrote Hernani which marked the triumph of Romanticism over Traditionalism. 1853 Up yours Napoleon.
1885 Hugo dies.

Saxe Meinigen, Duke Georg II (1826-1914). BIG supporter of the arts. Meiningen principles like decor shouldnt overshadow content, big actors should sometimes take little parts, want well-researched true to form theater. But still had elaborate stage sets.
Didn't want war and larger empire. Couldnt reign in Wilhelm II. Warned Orchestra. died on June 25th, Sarajevo shots heard at his funeral on J 28th.
1866 Decisive break in culture? Meiningen takeover, the M actors are coming to town! (travel facilitated by Ludwig Chronegk, helped also by M's third wife, an actress)

1879 Doll's House.
Henrik Ibsen, Theater as literature starts now, people buying and reading plays, not just going to them.

Earnest, 1895, Oscar Wilde. Bunburying equivalent in his life? His mom wrote under pseudonym, someone else got in trouble, she stood up for him and claimed blame, never got charged. Oscar Wilde never left country though he could, didn't run away from his charges, like his mama.

Cherry Orchard, Anton Chekhov, 1904. His plays are written as comedies!!! Peer and friend of Stanislavsky though they often disagreed. Son of a peasant, evicted by Lopakhin equivalent,
Turgenev, Nihilist, Anarchist, Communist??