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stage

Shakespeare Birth Date + Shakespeare Death Date = A Couplet

The stage is as bare as my lady’s ass 

In his lordship’s bedchamber.

Rough-hewn in the most knockabout way, 

Leaving splinters in the palace lawns

Of the imagination.

There’s many a dip

‘twixt the trap and the lip.

It fares little better than hastily strewn boards 

Covering parched ground, 

With barely enough elevation 

To keep the understanding masses at bay.

Were one fool enough 

To come from out the wings, 

And at centre front begin a soliloquy 

About the beauty of the wretched arena 

On which he stands, 

To fight the resulting and justified spontaneous combustion, 

There would not be found one drop of piss 

From any a Thespian’s hose.

For who could allow this sacrilege to be spoken? 

Even the flag atop the pole 

Knows that the magic is not yet arrived.

A stage without commercial trappings:

Without solid doors and thick drapes,

Uncluttered by pillars,

And arches,

Tables and chairs,

Windows and fireplaces;

Sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small 

(As in the globe around)

The audience

Has nothing to know/ nothing to learn,

Until the actor makes an entrance 

And prepares

To fight through our eyes and ears

To battle with those thoughts and fears

that lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing!

Merely a name on a page of script.

A cue at which to turn his profile thus.

It is what Hecuba becomes 

To we who wait,

That turns the key

Upon the heavy gate.

A Flash Mob of One

flashmob

It is difficult to be,

Or, to do,

(Hard to say which is more accurate)

A Flash Mob of One.

Particularly the alto parts.

But that is all

Which is allowed

In these times of

Pandemic.

Six feet (two meters)

Apart.

Multiplied (x)

By who knows

How many people.

So,

Ya gotta be community safe

(So much better than sorry),

And do it all yourself.

This does, however, make those

High-kick routines

Much easier to

Choreograph.

(image) https://reputationtoday.in/wp-content/uploads/2016/11/flashmob.jpg

 

 

The Theatre For The World

theatre-clipart-stage-background-1

The stage is as bare as my lady’s ass in his lordship’s bedchamber.

Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination. There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a Thespian’s hose.

For who could allow this sacrilege to be spoken? Even the flag atop the pole knows that the magic is not yet arrived.

 

A stage without commercial trappings:

without solid doors and thick drapes,

uncluttered by pillars,

and arches,

tables and chairs,

windows and fireplaces;

sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing. Merely a name on a page of script, a cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

(image) moziru.com/images/theatre-clipart-stage-background-1.jpg

Shakespeare’s Birth And Death Day Is A Couplet

Shakespeare could look you in the eye and tell you who you are – so well-versed in the ways of people he was. He would then place you upon the stage, and have an actor have a go at you. With puns and foibles and insights.

Thus do I repeat my Shakespeare (though not exactly Shakespearean) homage.

~~~~~~~~~~~~~~~~~~~~~~~~~~~

The stage

Is as bare as my lady’s ass

In his lordship’s bedchamber.

Rough-hewn

In the most knockabout way,

Leaving splinters

In the palace lawns of the imagination.

There’s many a dip ‘twixt the trap and the lip.

It fares little better

Than hastily strewn boards

Covering parched ground,

With barely enough elevation

To keep the understanding masses at bay.

Were one fool enough

To come from out the wings,

And at centre front

Begin a soliloquy about the beauty

Of the wretched arena on which he stands,

To fight the resulting

And justified

Spontaneous combustion,

There would not be found one drop of piss

From any a Thespian’s hose.

For who,

Could allow

This sacrilege to be spoken?

Even the flag atop the pole knows

The magic is not yet arrived.

A stage without commercial trappings:

without solid doors and thick drapes;

uncluttered by pillars and arches,

tables and chairs,

windows and fireplaces;

sans orchestra,

sans balcony,

sans pit.

A stage revealing all its secrets.

Profound as emptiness.

A stage in wait.

For in this world writ small

– as in the globe around –

the audience has nothing to know,

nothing to learn,

until the actor makes an entrance,

prepares to fight past our eyes

to battle with those thoughts

and fears

which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing.

Merely a name in a script,

A cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

~DE BA. UE

 

What Is Hecuba To Him – To Us – As We Gaze Upon The Theatre Stage?

 

image

The stage is as bare as my lady’s ass in his lordship’s bedchamber. Rough-hewn in the most knockabout way, leaving splinters in the palace lawns of the imagination.

There’s many a dip ‘twixt the trap and the lip.

It fares little better than hastily strewn boards covering parched ground, and barely enough elevation to keep the understanding masses at bay.

Were one fool enough to come from out the wings, and at centre front begin a soliloquy about the beauty of the wretched arena on which he stands, to fight the resulting and justified spontaneous combustion, there would not be found one drop of piss from any a Thespian’s hose.

For who could allow this sacrilege to be spoken?

Even the flag atop the pole knows that the magic is not yet arrived.

A stage without commercial trappings:

without solid doors and thick drapes;

uncluttered by pillars and arches, tables and chairs, windows and fireplaces;

sans orchestra, sans balcony, sans pit.

A stage revealing all its secrets. Profound as emptiness.

A stage in wait.

For in this world writ small – as in the globe around – the audience has nothing to know, nothing to learn, until the actor makes an entrance, and prepares to fight past our eyes to battle with those thoughts and fears which lurk in sheltered halls.

What’s Hecuba to him?

Why – nothing.

Merely a name on a page of script, a cue at which to turn his profile thus.

It is what Hecuba becomes to we who wait,

that turns the key upon the heavy gate.

DE

(image) https://media.timeout.com/images/101695099/image.jpg

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