PS

Read Williams' Page in script.vtheatre.net

The Merriam-Webster Encyclopedia of Literature :
Play in three acts by Edward Albee, published and produced in 1962. The action takes place in the living room of a middle-aged couple, George and Martha, who have come home from a faculty party drunk and quarrelsome. When Nick, a young biology professor, and his strange wife Honey stop by for a nightcap, they are enlisted as fellow fighters, and the battle begins. A long night of malicious games, insults, humiliations, betrayals, painful confrontations, and savage witticisms ensues. The secrets of both couples are laid bare and illusions are viciously exposed. When, in a climactic moment, George decides to "kill" the son they have invented to compensate for their childlessness, George and Martha finally face the truth and, in a quiet ending to a noisy play, stand together against the world, sharing their sorrow.

Albee @ amazon *

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Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)
Plus, Virtual Theatre and Book of Spectator!

Web? Oh, this is just medium. Like stage, screen, writing...

Considered by many to be the masterpiece of American playwright Edward Albee, written in 1962.

Martha and George invite (well, Martha does the inviting) Nick and Honey, two neophytes at their university faculty, over for a few drinks. The scene quickly deteriorates into a genuine Walpurgisnacht, a hedonistic brawl of intellect and imagination where no-one gets out without a scar or two. The script (which is, quite possibly, bloody brilliant) is fraught with intertextuality, shameless puns and gags, and more creative insults than you thought possible in the space of its pages.

Next: Albee

pm-play: One Act Paper, where Albee is a main character? THE SCENE. The living room of a house on teh campus. THE PLAYERS

What is the focal point? Transition to POMO?

"Feast or famine. You're in fashion for a while then you're out of fashion, then you come back in fashion. I shall be out of fashion again in three years. You know that." (Albee)

"Why repeat yourself?," Albee asks, rhetorically. "Different subjects demand different approaches which end up as different kinds of theatre." (EDWARD ALBEE'S LIFE AND ART; A Delicate Balance by Sylvie Drake).

LOVE is a communication. Nothing else. To be understood is to be noticed. to know that you're alive (p.3) Oh, the happiness! Love was a new apparatus of happiness. Being in love was easier that being love. Christianity develop this concept of acceptance. That was exclusively human emotion (technologies of love). Child and sex -- two areas of instincts, where the pure war seems to end. It was natural to start there -- where the total war had its weak spot.
To extend this discipline to your neighbor, and, finally, yes -- to your enemy. We needed a hardware technology (phone, tv, car?), a distance in order to experience such a non-natural emotion. Of course, it's a defence technique, inverse aggression. I become the field of most intensive war. Present (western?) individual is a construct of this love. The Greeks didn't love their gods; Zeus didn't ask for love. Man was too weak to enter into real relations with god. Atheism is a fruit of this equal relations. god was the ultimate Other, the first mirror where I can see myself. I had to love god to fully identify myself with Him. My neighbor (by culture), trained in the same way, would learn too how to alienate himself, so he would be ready to "love" me.
Naturally, the man-woman relation became a less important area when the same rule was imposed on all.

We know about the dramatics. So, the conflict.

At the base of the genre lies the Socratic notion of the dialogic nature of truth, and the dialogic nature of human thinking about truth. The dialogic means of seeking truth is counterposed to official monologism, which pretends to possess a ready made truth, and it is also counterposed to the naive self confidence of those people who think that they know something, that is, who think that they possess certain truths. Truth is not born nor is it to be found inside the head of an individual person; it is born between people collectively searching for truth, in the process of their dialogic interaction. Socrates called himself a "pander": he brought people together and made them collide in quarrel, and as a result truth was born; with respect to this emerging truth Socrates called himself a 'midwife,' since he assisted at the birth... (Bahktin 110)

The word "truth" makes me nervious. If truth is really a process (Hegel), it's humble, never complete and always a lie. Ah, I-I reasoning, sobornost!

Bakhtin never wrote about theatre. Perhaps, it was too obvious. Theatre is nothing but dialogue. It's not actor and spectator -- it's the between. The relations ARE the dramatic.

[In good drama I'm agree with every character? I-I, in order to have I-Thou.]

Bahktin:
There is neither a first nor a last word and there are no limits to the dialogic context (it extends into the boundless past and the boundless future). Even past meanings, that is, those born in the dialogue of the past centuries, can never be stable (finalized, ended once and for all) they will always change (be renewed) in the process of subsequent, future development of the dialogue. At any moment in the development of the dialogue there are immense, boundless masses of forgotten contextual meanings, but at certain moments of the dialogue's subsequent development along the way they are recalled and invigorated in renewed form (in a next context). Nothing is absolutely dead: every meaning will have its homecoming festival. The problem of great time. (Speech Genres 170)

History isn't science. Don't you know?

the idea of the cultural moment in which all times are joined or converge in the present moment; the other was the idea of universal labor, in which one is joined, through one's work, to colleagues throughout the world and throughout history (Bahktin p. 384).

p.7 [NB! Nick-George: Science v. History.]

History v. Biology (Math, according to Martha)

PURE WAR
High Fascism: American Democracy. p.8. American fascism is a transformation of the best super-statism of modernity into super-society. Simbios of Nazism and communism. Breeding humans, social engineering. Equality is necessary for quality control. Industrial methods. Presidents on education.
Standardization. Of course, integrated and co-ed, to eliminate the difference. Measurable. what is Liberal Regime? Structure without governmental structure (non-violent), when suppression is not visible. (see _America_)

Am. fascism (6) and Pure War (8). What is the step from the Total War?

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