Les mots d'amour n'ont pas de dimanche

Jerôme - Looks don't matter to me. That is, beyond a certain level of acceptability. All women are equal. It's the character alone that counts.
Laura - But the character shows in how a person looks.
Jerôme - What do you see?
Laura - That you're different in character.
Jerôme - There you go again. But you're right.
At your age I had an ideal woman, and she wasn't like Lucinde. In body and character she's not for me. But then, a woman made for me would bore me. I'd find her tiring. If I'm marrying Lucinde, it's for one simple reason: In six years of knowing her, I've never tired of her, nor she of me, and I see no reason we shouldn't go on like that.
You must find this terribly devoid of passion.
Laura - I like to feel I love someone the very first day, not after six years. I don't call that love. That's more friendship.
Jerôme - You think they're really so different? Basically, love and friendship are the same.
Laura - No, I'm never friends with someone I love. Love makes me mean.
Jerôme – Really? Not me. I don't believe in love without friendship.
Laura - Maybe. But for me friendship comes later.
Jerôme - Whether it's sooner or later doesn't matter. But friendship has something I hope love has too: respect for others' freedom. It's not possessive.
Laura - I'm possessive. Terribly possessive.
Jerôme - Really? You shouldn't be. You'll ruin your life.
Laura - I know. I was born to be unhappy. But no, I won't be unhappy. I'm very happy.
I only think of positive things. People are unhappy because they want to be.
When I feel down, I think about how there are happy times, and that crying does no good anyway. I think about how marvelous it is to be here, and how much fun I'm going to have.
Jerôme - What do you call having fun?
Laura - Having fun is being alive. For instance, today I'm very happy. Tomorrow I may be sad. So then I make myself think of something else. I concentrate on one specific thing and how fantastic it is, and I'm happy for the rest of the day. But if I'm in love, I might -
Jerôme - You might what?
Laura - When I'm in love, it occupies me totally, and I forget that I'm happy to be alive.
Jerôme - You mustn't forget. You mustn't sacrifice life or happiness for love. But I think you're sensible enough to know that.
Laura - Really?
Jerôme - Really.
Laura - I'm going to tell you a secret. In fact, I'm not happy when I'm in love. I hate it. I stamp my feet. Nothing interests me. I stop living. It's no fun at all.
Jerôme - See? I was right. Wasn't I?
Laura - No.

Le Genou de Claire, Eric Rohmer

La Multi "Annie"

great singing attitude

Alle mine tankar, de flyr te deg

and great singing attitude...

great singing attitude

like a walk in the raaaaaaain...

Dramatis personæ

silly season

DEMO is nominated for Best Theatre Performance in the SPA / Prémio Autores 2010.
For some it was the worst show ever seen (it's certainly the funniest review I've ever read) but for others it's worth a nomination. Nice. I have to agree with the latest...

Congratulations: André Campino, André e. Teodósio, André Godinho, Andres Lõo, Carlos António, Christopher Fleeger, Cláudia Jardim, Cristina Correia, Daniel Worm d’Assumpção, Diogo Bento, Joana Barrios, Joana Gusmão, Joana Manuel, José Maria Vieira Mendes, Kevin Blechdom, Luís Madureira, Miguel Bonneville, Patrícia da Silva, Pedro Penim, Pedro Pires, Rão Kyao, Rita Só, Susana Pomba, Teresa Amaral, Vasco Araújo

and Teatro Municipal São Luiz

There will be a cerimony transmited live on RTP on the 8th of February.
You know how it goes: if you want to kill us, we'll be there.

The votes are in. We'll fucking win (not)
Too bad for all the others!

(foto: Tatiana Macedo)

Great Singing Attitude

MIA MARTINI - E PARLO ANCORA DI TE

Franny and Zooey

Roger Ackroydionism

An unreliable narrator is a narrator, whether in literature, film, or theatre, whose credibility has been seriously compromised. This narrative mode is one that can be developed by an author for a number of reasons, usually to deceive the reader or audience. Unreliable narrators are usually first-person narrators, but third-person narrators can also be unreliable.

The nature of the narrator is sometimes immediately clear. For instance, a story may open with the narrator making a plainly false or delusional claim or admitting to being severely mentally ill, or the story itself may have a frame in which the narrator appears as a character, with clues to his unreliability. A more dramatic use of the device delays the revelation until near the story's end. This twist ending forces the reader to reconsider their point of view and experience of the story. In some cases the narrator's unreliability is never fully revealed but only hinted at, leaving the reader to wonder how much the narrator should be trusted and how the story should be interpreted.

Historical novels, speculative fiction, and clearly delineated dream sequences are generally not considered instances of unreliable narration, even though they describe events that did not or could not happen.

In J.D. Salinger’s The Catcher in the Rye the iconic persona and the testimonial voice of its first-person narrator, Holden, serves as an insightful but unreliable narrator.

J.D. Salinger (January 1, 1919 – January 27, 2010)

r.i.p.

Rushmore

Max Fischer: You hurt my feelings! This night was important to me!

Rosemary Cross: How did I hurt your feelings?

Max Fischer: Oh, my God! I wrote a hit play!

[pauses]

Max Fischer: And I'm in love with you.

rock bottom

Where am I? Rock bottomTragedies? I got 'em Remedy?Why don't I rub it out and start it again?  

Food Fight

FROM THE INSIDE PERSPECTIVE

Green Room Reaction 12

It is sometimes said that the term green room was a response to limelight, though the name is merely a coincidence -- "limelight" refers to calcium oxide, not to the fruit or color. Furthermore limelight was invented in 1820 and the term was used many years prior to that.

Western Spaghetti

just thinking about food....

Dead as a Dodo

E dois Dodós olhavam a paisagem em silêncio, desolados com o horizonte ou talvez não, talvez estivessem apenas entediados ou esperassem pela hora da refeição ou estivessem hipnotizados pelo ir e vir das ondas , ignorantes de que eram os últimos, de que foram os últimos. 

visto: The Hurt Locker

If someone inflicts pain on someone else, they are said to be "putting them in the Hurt Locker". It is a colloquiallism, that means to cause someone physical or mental suffering. A metaphorical place you go when you are painfully unsuccessful in any competitive event.

Another similar phrase is, "a world of hurt" meaning that someone is in (or is going to be in) a great deal of inescapable physical, mental, or in a period of immense emotional suffering.

ANITA VAI A NADA, NESTE CASO VAI AO TEATRO MARIA MATOS

foto: ângelo fernades


ANITA VAI A NADA, TEATRO MARIA MATOS

DIA 6 DE FEVEREIRO ÀS 16H00 E DIA 7 ÀS 11HOO

RESERVAS: 21 843 8801 ou bilheteira.teatromariamatos@egeac.pt

Anita ama a montanha, o mar, a natureza e também gosta de brincar às bonecas. Anita é sociável, fiel companheira, dinâmica, jovial, amorosa. Anita é mesmo perfeita.
Anita nasceu em 1954 mas será sempre jovem e bonita e nunca precisa de botox nem de prozac, nem de apoio moral. Anita tem sempre lingerie de bom gosto comprada na petit bateau. E brinquedos muito caros.
Anita é sempre a melhor em tudo, sabe sempre tudo e tem sempre a atitude certa.
Anita pode tudo e faz tudo, porque Anita tem tudo. E se ela pode tudo, também nós podemos, porque a Anita é o herói escondido dentro de qualquer um de nós.

Tvoje su usne kao... čokolada!!! To mi se dopada!

instead of western spaghetti we could divise a western chocolate pyramid

Close Reading

If we take today’s paradigmatic movie, it is the war movie. It’s, for example, Spielberg’s Saving Private Ryan, where you have a representation of endless horror, meaningless slaughter and violence. Spielberg’s perspective is again that of the Last Man: that is to say, war is simply a nightmare, incomprehensible, a pathetic waste of human life. But I think that what we should not lose sight of is that there was heroism of purpose and ethical struggle in WWII and the D Day invasion, and that there are causes and ideals that are worth dying for. This, incidentally, also reflects the overwhelming trend in today’s ideological discourse to consign those who are prepared to risk their lives in the name of a certain cause or purpose to the realms of mindless fanatics.

For what would you risk everything? This is the central concern of Westerns generally – at what crucial point do you gather the courage to risk life itself?

So I think that in no way we should dismiss the Western as some kind of American ideological fundamentalism. On the contrary, I think that we need this heroic attitude more and more. In this context, what comes after deconstruction and the acceptance of radical contingency should not be a universalized ironic scepticism where whenever you commit yourself to something then you should be aware that you are never fully committing yourself – no, I think that we should rehabilitate the sense of full commitment and the courage to take risks.

Slavoj Žižek

Green Room Reaction 11

Gregory Crewdson

Keep the dream alive...

keep blogging
keep posting
keep writing
keep pushing
keep it up
keep the rythm
keep in touch
keep counting
keep on doing it
keep going
keep him
keep my baby (I'm gonna)
keep the change
keep it simple
keep the kipah
keep thinking
keep on the good work
keep it together
keep asking for more
keep the promise
keep your head down
keep an eye on it
keep your shit
keep breathing
keep safe
keep holding on
keep smiling keep shining
keep playing for keeps
keep the doctor away
keep your temper
keep your cool
keep a diary
keep calm
keep trying
keep the comandments
keep clean
keep back!
keep down
keep out!
keep a secret (can you)
keep friendship green
keep of kalessin
keep the faith
keep going west
keep on dreaming...

Ve'Az Tavoi

When a Cruel long Winter has frozen the Earth,
And Nature Imprison'd seeks in vain to be free;
I dart forth my Beams, to give all things a Birth,
Making Spring for the Plants, every Flower, and each Tree.
'Tis I who give Life, Warmth, and Vigour to all,
Even Love who rules all things in Earth, Air, and Sea;
Would languish, and fade, and to nothing would fall,
The World to its Chaos would return, but for me. 

Purcell, The Fairy Queen

great singing attitude

serenade by selena

deadlock

"After careful consideration of the facts, I've decided to faint. It may not be very heroic, but it is relaxing. Therefore, zzzzz."

Achille Talon

Green Room Reaction 10

A green room is a space in a performing venue which is set aside for performers to lounge in when they are not required on stage. It is typically set apart from the stage and the audience, so that the actors can hold conversations and play games without being heard by the audience. A green room is usually equipped with couches and chairs, reading materials, and games, and is a popular place to unwind after the show as well.

Unlike dressing rooms, another popular lounging area, the green room is not equipped for preparations to go on stage, and is designed as a purely recreational area. It also not usually established with the intent of being a peaceful and quiet space; the green room is an area for socializing. Actors who need quiet before going on stage usually find other areas of the theater in which to focus.

Oil ain't all... there's also trailer park aliens

"Pour moi, l'amour chante en français"

No no no no no no no
You... you and I, it's like you said
I'm not a Chivers anyway
You look fine

Green Room Reaction 9

A modern green room usually includes monitors so that actors can be ready for their appearances on stage. There is often a separate intercom so that staff can communicate with actors, and the green room often opens onto a deck or covered outdoor area so that actors can smoke. On television shows, guests and presenters often meet each other in the green room before the performance, allowing them to break the ice with each other before appearing in front of an audience. Some smaller theaters have dispensed with green rooms altogether, due to space restrictions.

sonho de uma noite do devendra‏

Megapuss - Adam and Steve

via amet

Video from studmuffin2

lifnei she'halayla nigmar

One charming night
Gives more delight
Than a hundred lucky days.
Night and I improve the taste,
Make the pleasure longer last
A thousand several ways.

Purcell, The Fairy Queen

-20°C

Ferma il cuore un momento
A quei giorni d'inverno e si scioglierà il ghiaccio
E si scioglierà il ghiaccio

Now winter comes slowly, pale, meagre and old,
First trembling with age and then quivering with cold;
Benumbed with hard frosts and with snow covered over,
Prays the sun to restore him, and sings as before

Purcell, The Fairy Queen

Green Room Raction 8

The Green Room (French: La chambre verte) is a 1978 French film directed by François Truffaut and based on the Henry James short story "The Altar of the Dead", in which a man becomes obsessed with the many dead people in his life and builds a memorial to honor them. This film is also based on other short story by Henry James, "The Beast of the Jungle". It would be the last film Truffaut would act in.

The photos on the chapel wall consist of François Truffaut's friends and idols, such as Jeanne Moreau, Oskar Werner, Jean Cocteau, Guillaume Apollinaire, Oscar Wilde and Henry James, the author of the story on which the film is based, as well as Maurice Jaubert, whose music is used in the film.

Green Room Reaction 7

During the Shakespearean era, some actors prepared themselves in a room filled with plants and topiary, because the plants provided humidity, which was believed to be beneficial for the voice. Thus the green room may refer to the green plants in this stage preparation area.

let's not pretend we don't see the elephant in the (green) room

On tuolla tuhannet maailmat ja yksi niistä meidän on

Tristan again...

Wagner's explicit ideological project in Tristan is radical in its very superficial simplicity. It brings together what his mentor, Schopenhauer, opposed. For Schopenhauer, the only salvation consists in total self-obliteration of the will to life, whose ultimate expression is sexual craving, whereas Wagner simply combines these two opposites: our very exhaustive surrender to sexual love brings about redemptive self-obliteration. One should thus never forget that (in contrast to, say, Romeo and Juliet) Wagner's Tristan is not a tragedy but a sacred, aesthetico-religious musical play with a "happy" outcome of attaining the looked-for bliss.

Opera's second death, Slavoj Žižek

È soltanto un pretesto per coprire un errore

A Midsummer Night's Sex Comedy

A film review:

The acting is atrocious - Mia Farrow sounds like she's reading from a cue card the entire film, and Mary Steenburgen and Julie Hagerty are woefully miscast as a troubled wife and a wanton nurse, respectively. Poor Tony Roberts spends the entire film with a rag wrapped around his head. Worst off, however, is José Ferrer, an aging star uncrated, dusted off, and carted in for the occasion. The poor guy does not belong in a Woody Allen vehicle, mangling what comedy there is.

The script itself (written in two whole weeks!!) is clichéd, an insipid "homage" to Shakespeare but really a poor second fiddle to stuff like Porky's. Now that's a sex comedy.

Tiftah Halon

Come, come, come let us leave the town,
And in some lonely place
Where crowds and noise were never known
Resolve to spend our days
in pleasant shades upon the grass
At night ourselves we'll lay;
Our days in harmless sport shall pass,
Thus time shall slide away.

The Fairy Queen, Purcell

The Green World

"Shakespeare’s type of romantic comedy follows a tradition established by Greene and Lyly, which has affinities with the medieval tradition of the seasonal ritual-play. We may call it drama of the green world, its plot being assimilated to the ritual theme of the triumph of life and love over the waste land.
(...)
The green world charges the comedies with the symbolism of the victory of summer over winter.
(...)
The green world has analogies, not only to the fertile world of ritual, but to the dream world that we create out of our own desires. This dream world collides with the stumbling and blinded follies of the world of experience, of Theseus’ Athens with its idiotic marriage law, of Duke Frederick and his melancholy tyranny, of Leontes and his mad jealousy, of the Court Party with their plots and intrigues, and yet proves strong enough to impose the form of desire on it. Thus Shakespearean comedy illustrates, as clearly as any mythos we have, the archetypal function of literature in visualizing the world of desire, not as escape from “reality”, but as the genuine form of the world that human life tries to imitate."
Northrop Frye, Anatomy of Criticism

Pub

Maxpassion (Paixão Segundo Max)
Ontem e hoje no Schauspielhaus Wien.

Can you feel the love power coming your way?

(Making a toast) Well, to wonderful chats, and Boswell and Johnson, and Leopold and Ariel, and this summer night, and you two, of course.

  

- And Maxwell.

- And Dr Maxwell Jordan.

- Doctor of high jinks.

- And to Adrian and Andrew.

                  

(gunshot)

Where did that come from? Maxwell! Maxwell!

- Maxwell, what is it?

- Maxwell, are you all right?

- Did you hurt yourself?

- You're bleeding.

                 

Maxwell - I just picked it up and it went off. I didn't know it was loaded.

Put that thing down! Be careful with it!

                

Andrew - Jesus, are you OK?

Maxwell - Yeah, I'm all right. I'm OK. Go on back to dinner.

There's no harm done. I'm all right.

                  

- Everybody, go.

- We'll put a bandage on it.

                  

Andrew - Go back to the house. We'll put some alcohol on it. Just relax. He's OK.

Maxwell, let me see that thing for a second. Maxwell, are you crazy? I never keep bullets in that thing.

Maxwell - So what?

Andrew - So are you insane? Is she worth putting a bullet through your head for?

Maxwell - I love her.

Andrew - I don't know who I'm talking to any more. I don't know you.

Maxwell - Nobody knows me.

Andrew - Don't be melodramatic. Are you crazy?

Maxwell - Maybe I'm drunk, but I haven't been able to think of anything else but her all day.

I have to be alone with her.

Andrew - What are you telling me? What would have happened if you hadn't missed? What a tragedy that would be.

Maxwell - Wouldn't you die for Ariel?

Andrew - Me?

Maxwell - I see the way you look at her.

Andrew- I'm not a poet. I don't die for love. I work on Wall Street.

Maxwell - I waited for her. You never sent her.

Andrew - I tried!

Maxwell - Was she willing to come?

Andrew - Yes! I tried to take her by air. We fell into the lake. It was ridiculous. We had to get out. We walked. Our clothes were soaking wet.

Maxwell - It sounds very romantic, walking around with wet clothes.

Did you kiss her?

Andrew - Kiss her? I sneezed on her.

Maxwell - Why do you blush when we discuss her?

Andrew - Maxwell, leave me alone!                  

If I did love her, it wouldn't matter. She's marrying Leopold.                  

Maxwell - What do you mean, if you did love her? Do you love her?

Andrew - I'm saying "if". If I loved her, if I wasn't married, then...
Maxwell - Then... 
Andrew - Well, then we would have some problems.

in "Midusmmer night sex comedy" by Woody Allen

If my world stopped turning...

visto: Das weisse Band - Eine deutsche Kindergeschichte de Michael Haneke

"I don't know if the story I want to tell you is entirely true. Some of it I only know by hearsay. After so many years, a lot of it is still obscure, and many questions remain unanswered. But I think I must tell of the strange events that occurred in our village. They could perhaps clarify some things that happened in this country."

Carolsfeld and Garrigues (as Tristan and Isolde)

Tristan's death seems to be the epitome of the tragic dimension reversing into the comic one: dying as a process of well over an hour of exhausting singing - no wonder that the first Tristan, Ludwig Schnorr von Carolsfeld, actually died of exhaustion after the first performances in Munich in 1865. Following his demise his widow Malvina Garrigues could not bring herself to continue with her career and she retired from the stage.

This Tristan is turning into something terrible! This final act!... I fear the opera will be banned - unless the whole thing is parodied in a bad performance: only mediocre performances can save me! Perfectly good ones will be bound to drive people mad, - I cannot imagine it otherwise. This is how far I have gone!!" (Wagner in a letter to Mathilde Wesendonck)

I believe in a thing called love / Just listen to the rhythm of my heaaaaaaart!!!

Tristan is not just an Opera: Michael Tanner (Wagner, 1997) was right to point out that if one is to make sense of Tristan, one has to approach it not simply as a work of art but as an ontological statement about the last things, about the meaning of life. The problem here is not the standard postmodern quip about who, in our cynical post-ideological era, can still take seriously big metaphysical solutions such as the Wagnerian Liebestod but rather the opposite one, that is, today's ambiguous relationship toward belief (or firm conviction as such). Suffice it to mention two thoroughly different examples. Is it not deeply symptomatic how - in some European countries, at least - priests and right-wing populist politicians are among the most popular guests for roundtable TV debates? What makes them so fascinating is their very naive sticking to firm conditions; the fact that they dare to stick publicly and firmly to their convictions makes them such an easy target. The second example: Why do fans insist on watching a soccer match live, even if it is in front of the TV? Why is this never the same as watching it later? The only honest answer is: to help their club, to magically influence the game.

Opera's second death, Slavoj Žižek

Green Room Reaction 6

The Melatonin Room is a physiological architecture project, by swiss architects Jean-Gilles Decosterd and Philippe Rahm, that acts on space itself by transforming its electromagnetic composition. This room is defined as a hormonal stimulation space. The melatonin regulates levels of alertness in the human body. A high level induces sleepiness, a low level greater alertness Two climates are produced in alternation.

The first is defined by the emission of a bright green electromagnetic radiation at 509 nm, at an intensity of 2000 lux, which eliminates the production of melatonin, the space becomes thus a physically motivating place. The second climate is a dissemination of ultraviolet rays, bathing the visitor in soft blue light which stimulate the production of melatonin. This "physiological architecture" explores the ways environments can change consciousness.

The Melatonin Room is a nonrepresentational space that reduces the medium between the transmitter and the receiver to the greatest possible extent and acts on the chemical mechanisms of things inter se. It works on the new forms of communication, engendered by the biotechnologies and genetics that have come to join analog, poetic, esthetic and rhetorical communication.

Melatonin is a hormone produced by the pineal gland, located in the brain. This gland reacts to the light information received by the retina. Melatonin secretion normally occurs at night, since it is activated by the absence of light. Little melatonin is secreted in the daytime. The secretion of melatonin gives the body and the mind information related to sleep and fatigue. It is linked to circadian rhythms and biological clocks. It is a factor in puberty and sperm production in human beings. The Melatonin Room constitutes research toward the electromagnetic characterization of space and its physiological impact on human metabolism.

courtesy of António Gouveia

let me stay in your summer

Andrew - Do you remember these woods at all? Do you remember the bridge down there?

Ariel - Of course. It was one of the most beautiful summer nights I'd ever seen.

Andrew - It was very romantic. I think about that night all the time.

Ariel - No, really?

Andrew - Yeah. And when I do, I want to kill you. Kill you or myself, but much more you.

Ariel - What for?

Andrew - Do you have any idea how much I lusted after you?

Ariel - Why didn't you do something? I wanted you to.

Andrew - You were this diplomat's daughter, raised by nuns. I was shy. We were not in love. It was pure animal lust.

Ariel - That's just what I was in the mood for.

Andrew - I know. I missed an opportunity. I've regretted it ever since.

Ariel - That's the saddest thing in life, a missed opportunity.

Andrew - And particularly rotten in this case. Because after you left, a month after you went to Europe, I learned that you were, and had been, sleeping with everyone. Everyone!

Ariel - Not everyone. (pause.) Well, maybe it was everyone.

Andrew - I wouldn't have been the first, I'd have been the 30st. Writers, bankers, poets, the entire infield of the Chicago White Sox.

Ariel - You have to admit, I wasn't one of your shrinking, mousy, inhibited virgins.

Andrew - The understatement of the century.

Ariel - Did you want me to take charge? You didn't act like you wanted anything.

Andrew - I was used to slower women. Adrian and I had no sex till we were married.

Ariel - Why are we rehashing all this? Huh? It's over. We're two older people now. By tomorrow this time, I'll be married too.

Andrew - What is it with you and Leopold? He's so much older than you.

Ariel - Leopold's very brilliant. A genius.

Andrew - So what? If you're such a free spirit, why do you want to tie yourself down?            

Ariel - You know. For a woman, the years slip away quickly.

Andrew - Don't tell me you're getting scared.

Ariel - Maybe.

Andrew - But why? I don't understand. You're so beautiful and charming. You could get any man that you wanted.

Ariel - No, that's not true.

Andrew - That was always true, Ariel.

Ariel - Not you.

Andrew - Me?

Ariel - I think amongst all the love affairs I was running through then, you were the one person that could have stopped me.

Andrew - I could have?

Ariel - Yeah. I... I was really beginning to care for you.

Andrew - Sometimes I wonder what would have happened if we'd made love that night. The moment was so perfect.

Ariel - People find out things about themselves through lovemaking that they never dreamed of. What? What are you thinking?  

Andrew - Nothing. Only that our whole lives might have been different if only I had acted.

Ariel - Tell me something, Andrew. If you lusted after me so, why weren't you also in love with me?

Andrew - Can the two feelings really be separate? 

in "Midusmmer night sex comedy" by Woody Allen

Great singing attitude 3

Nena Daconte - 'Tenia tanto que darte' - kewego

Prometo guardarte en el fondo de mi corazón
Prometo acordarme siempre de aquel raro diciembre
Prometo encender en tu día especial una vela
y soplarla por ti...
Prometo no olvidarlo nunca

Tenia tanto que darte
Tantas cosas que contarte
Tenia tanto amor,
guardado para ti...

Camino despacio pensando volver hacia atrás,
No puedo en la vida las cosas suceden no más...
Aún pregunto que parte de tu destino se quedó conmigo,
Pregunto que parte se quedo por el camino

Tenia tanto que darte
Tantas cosas que contarte
Tenia tanto amor,
guardado para ti...

Tenia tanto que a veces maldigo mi suerte..
A veces la maldigo...
Por no seguir contigo...

Green Room Reaction 5

In the White House, the Green Room is one of three state parlors located on the state floor, it is traditionally decorated in green.

Cosmic Love

What it would be my, how to call it, spontaneous attitude towards the universe: it's a very dark one.

The first one, the first thesis would have been a kind of total vanity: there is nothing, basically - I mean it quite literally like, ultimately… ultimately there are jut some fragments, some vanishing things. If you look at the universe it’s one big void.

But then how do things emerge? Here I feel a kind of spontaneous affinity with Quantum Physics where, you know, the idea there is that universe is a void but a kind of a positively charged void and then particular things appear when the balance of the void is disturbed. And I like this idea spontaneously very much, that the fact that it’s not just nothing. Things are out there. It means something went terribly wrong, that what we call creation is a kind of a cosmic imbalance, a cosmic catastrophe. That things exist by mistake and I’m even ready to go to the end and to claim that the only way to counteract is… is to… assume the mistake and go to the end.

And we have a name for this: love. Isn’t love precisely this kind of a cosmic imbalance I was always disgusted with this kind of “I love the world”, “Universal love”, I don’t like the world, I don’t know how I… Basically I’m somewhere in between “I hate the world” or “I’m indifferent towards it”. But the whole of reality it’s just… it… it’s stupid, it’s out there, I don’t care about it.

Love for me is an extremely violent act. Love is not “I love you all”. Love means “I pick out something”… and it’s again this structure of imbalance, even if this something is just a small detail, a fragile individual person, I say “I love you more than anything else”. In this quite formal sense Love is evil.

Slavoj Žižek, as seen and heard in Turbo-Folk

Green Room Reaction 4

Green lips, Green veins
Green, the color of our planet
From far, far away

Liebestod sucks

"Julgo que ainda está muito presente uma concepção romântica do amor que, de certa maneira o consome no encontro. Ou seja, o amor queima-se, consome-se e é consumado a um mesmo tempo, no encontro, num momento de uma mágica exterioridade relativamente ao mundo. Qualquer coisa acontece da ordem do milagre, uma intensidade de existência, um encontro de fusão. Só que quando as coisas acontecem deste modo não estamos na presença da “cena do Dois” mas sim na “cena do Um”. Na concepção de fusão do amor os dois amantes encontraram-se e aconteceu uma espécie de heroísmo do Um que se opõe ao mundo. Muitas das vezes, na mitologia romântica, esta fusão conduz à morte. Há uma ligação íntima e profunda entre o amor e a morte, cujo ponto alto é sem dúvida o Tristão e Isolda de Richard Wagner, porque consumimos o amor no momento inefável e excepcional do encontro e depois disso não podemos mais voltar a entrar no mundo que se mantém exterior à relação.
Trata-se de uma concepção romântica radical, e julgo que ela deve ser recusada. É de uma beleza artística extraordinária mas, do meu ponto de vista, tem um inconveniente existencial grave. Convém mantê-la como um mito artístico poderoso mas não como um verdadeira filosofia do amor. Porque o amor, apesar de tudo, tem lugar neste mundo. É verdade que se trata de um acontecimento que não foi previsto ou calculado segundo as leis do mundo. Ninguém pode inventar o encontro porque ao fim e ao cabo quando nos vemos, vemo-nos e isso é irredutível! Mas o amor não se pode reduzir ao encontro, porque também é uma construção. O enigma do pensamento do amor é completado pela questão dessa durabilidade. No fundo, o ponto mais interessante não é a questão do êxtase dos começos. É claro que há um êxtase dos começos, mas um amor é acima de tudo uma construção duradoura. Digamos que o amor é uma aventura obstinada. O lado aventureiro é necessário mas a obstinação também. (…) Um amor verdadeiro é aquele que triunfa na duração, muitas vezes duramente, perante os obstáculos que o espaço, o mundo e o tempo lhe propõem."
Alain Badiou, Éloge de l'amour

Grapefruit

If Love's a Sweet Passion,
why does it torment?
If a Bitter, oh tell me
whence comes my content?
Since I suffer with pleasure,
why should I complain,
Or grieve at my Fate,
when I know 'tis in vain?
Yet so pleasing the Pain is,
so soft is the Dart,
That at once it both wounds me
and tickles my Heart.

The Fairy Queen, Purcell

Monsters need love too...

Oh I don't know what you've been told
But I don't get out much these days

Waking young and feeling old
The days are no longer my own,
To piss away the waking hours

But don't, don't don't, don't let them go
oh don't, don't don't, don't let them go to waste

The fire in my eye is fleeting now
Your robot heart is bleeding

And that little voice
In the back of your mind
Just wants you to know
Just hopes that you know

Green Room Reaction 3

Some studies state that the green room was originally called the retaining room. The ensemble of a production would wait there for their appearance onstage, listening to the performance of the principal actors and critiquing their acting. When made aware of this practice, the leads began to call the retaining room the green room, mocking the (green) envy of these actors.

(blue smurf and green smurf commenting in the green room)

Great singing attitude 2

I'd be safe and warm if I was in...

Ik hou van jou, alleen van jou - Lacanian Style

Ceauşescu's attitude toward Romania can be summarized with the saying: "I Love my country, that is why I mutilate it".

Renata Salecl, (Per)versions of Love and Hate

great singing attitude

L'amour est bleu:

Azzurro, il pomeriggio è troppo azzurro e lungo, per me
mi accorgo di non avere più risorse senza di te
e allora io quasi quasi prendo il treno e vengo, vengo da te.
Ma il treno dei desideri nei miei pensieri all'incontrario và.

A Cry 4 Love

Liebestod (German, "Love death") is the title of the final, dramatic aria from the opera Tristan und Isolde by Richard Wagner. When used as a literary term, liebestod refers to the theme of erotic death or "love death" meaning the two lovers' consummation of their love in death or after death. Two-sided examples include Pyramus and Thisbe, Tristan und Isolde, Romeo and Juliet, and to some degree Wuthering Heights.

Softly and gently
how he smiles,
how his eyes
fondly opens
--do you see, friends?
do you not see?
how he shines
ever brighter.

Green Room Reaction 2

Many actors experience nervous anxiety before a performance and one of the symptoms of nervousness is nausea. As a person who feels neauseous is often said to look "green", so the "Green Room" is the place where the nervous actors wait.

Zobacz, jak to wszystko zmienia mnie...

visto:

A Short Film About Love (Krótki film o milosci) e 
A Short Film About Killing (Krótki film o zabijaniu) 
de Krzysztof Kieslowski 

INAESTHETIK!!

15. Es ist besser, gar nichts zu machen, als formal an der Sichtbarkeit dessen zu arbeiten, was fuer das Imperium existiert.

15. Mieux vaut ne rien faire que de travailler formellement à la visibilité de ce qui, pour l'Empire, existe.

15. It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire aready recognizes existent.

Alain Badiou, 15 Thesen zur zeitgenoessischen Kunst
Alain Badiou, 15 Thèses sur l'art contemporain
Alain Badiou, 15 Theses on Contemporary Art
in: Inaesthetik, Nr.0