As ordained by Theatre Artaud's producers, D'Freire's thoughts cannot be contained within the confines of word limits

                         D'Freire

                        D'Freire

 

First memory: A rock’n’roll guitar emulates the sound of a Vietnam machinegun.

Lessons from college: 1.  À propos of the wet snow. At Hamilton, people often complained about the cold. I came to hate Winter myself; with snow it becomes more difficult to get away with a crime. 2. “What is the relation between the electrically illuminated Ibsenist realism … and absurdist theater?  We can think of electricity in the modern world as a form of retrieval which brings back the dour realism of Ibsen in a comic overexaggeration in a comic life.  It is a demonstrable fact that if you play Ibsen in the theater with reduced lighting values, you secure the intended realistic effect.  But if you turn up the lights to high intensity, it converts into comic archetype.”  I haven’t seen Ibsen’s plays performed, but in Interiors whenever there was too much light thrown over Eve’s face, I couldn’t stop myself from laughing. 3. It was Chekhov who said “money, like vodka, makes men eccentric.”  Yet one would rather give oneself into vodka than into dullness. 4. One of the virtues great writers share is their capacity to make their accounts, even the most personal ones, resemble universal.  While reading about the romantic liaison of Odette and Swann, however, I was invaded by the impression that it did not apply to anyone else’s love story but my own.  All of Proust’s readers must have felt the same. 5. It is a recent phenomenon that people attempt to explain social, economical, anthropological, historical, religious and even scientific matters using literature.  Only a few people have tried to explain anything using words.

 

Currently: Working on the thesis that God is not dead; she got a sex change.

 

 

Fragment reference: McLuhan, Marshall.  From Cliché to Archetype.  The Viking Press: New York, 1970, p. 9.