By David Ives

The realm in line with David Ives is a really upload position, and his performs represent a digital pressure try of the English language -- and of the audience's ability for disorientation and pleasure. Ives's characters plunge into black holes referred to as "Philadelphias," the place the easiest wants are hilariously thwarted. Chimps named Milton, speedy, and Kafka are locked in a room and made to re-create Hamlet. And a con guy peddles classes in a doubtful language during which "hello" interprets as "velcro" and "fraud" comes out as "freud."

At as soon as enthralling and difficult, incisively clever and side-splittingly humorous, this unique paperback variation of Ives's performs comprises "Sure Thing," "Words, phrases, Words," "The common Language," "Variations at the dying of Trotsky," "The Philadelphia," "Long in the past and much Away," "Foreplay, or The artwork of the Fugue," "Seven Menus," "Mere Mortals," "English Made Simple," "A Singular Kinda Guy," "Speed-the-Play," "Ancient History," and "Philip Glass Buys a Loaf of Bread."

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But because the new meanings are rhetorically encoded, they remain inaudible to the master. indd 24 6/8/10 1:22:25 PM of Afro-American folk narratives and vernacular English with whom he clearly bears comparison in certain respects (there are significant differences, of course, including the “toastful” and “boastful” qualities of the signifying monkey, who delights in his rhetorical power to triumph over such powerful enemies as the lion and the elephant by tricking them to do battle; Gates 1988, 55–64), the francophone Caribbean storyteller’s performance sessions become what Henry Louis Gates calls “language games” (1988, 52).

With the decline of Caribbean productivity, the stage was set for the blind imitation and consumption of foreign products (economic and cultural), which was encouraged by various subsidies and social allocations from France. Culture, as understood in official Caribbean circles, now took the form of tours by visiting French classical orchestras, art, fashion or other exhibitions, and theatre troupes. People assumed, in other words, the higher quality of a manufactured object shipped ready-made from France for local Caribbean consumption or reproduction.

For Artaud, this concrete physical language could be found in the “primitive” performances of the non-industrialized world, in his particular case, as we saw earlier, in Balinese theatre. indd 41 6/8/10 1:22:26 PM t­ heatres), his celebration of performance over text found favor in the United States and France in the experimental work of such performance art troupes as Julian Beck and Judith Malina’s Living Theatre, Ariane Mnouchkine’s Le Théâtre du Soleil, Peter Brook’s International Centre for Theatre Research, and Richard Schechner’s Performance Theatre (Carroll 1986; Innes 1993, 2000).

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