[...] find I prefer work -- in theatre and performance, at least; I don't mind so much in other media -- that sets out to say what something is, and not what it's like, or what it reminds us of, or whether we recognize it, or what else it might be. In a way this is a sort of antithesis of the pronouncement that Robert Wilson has been reiterating (with small variations) throughout his career: "My responsibility in creating for the theatre is not to say what something is, but to ask, 'What is it?'" This kind of holding-in-question seems at first glance both artistically livelier and politically more pertinent -- the ways in which even the familiar might contain multitudes of otherness, whole panoplies of potential change... But the fact is, theatre now exists within an apparently inexhaustibly liminoid culture, in which the mutability of function and identity is not only in itself a given, but also has become uncoupled from any sense of political programme or location. To be able to say what something materially or objectively is has become, post-Thatcher and mid-Web 2.0, the more radical, more dissident position than to gesture vaguely at its categorical slipperiness and its ineluctable contingency [...]
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