2008-2009 --

... The Caligari Project




eTheatre * Oscar Wilde: "... a map of the world that does not include Utopia is not worth even glancing at, for it leaves out the one country at which humanity is always landing."
vTheatre Shows



2006: "Web-shows"? Still not there! It seemed so simple. Pix, sounds, text... More work?


Dreams have no sound ... mine?

Maybe angelic world is silent?

... That why we have MUSIC?


Pinter and Mamet "presence" = a must, according to pomo and my own "presence"? Brecht's Epic Theatre (Brecht Page in directing).



Bad Subjects, Wrong Theories
"Dreams Pages" in nonfiction projects. Start with "American Book" (Post-AmeriKa). References to Glossary in nonfiction projects.

When you are 57, you are definetly postmodern.

Life as a nightmare. ...

[ Adam & Eve : Before the Sin, Sin, After (transition between the scenes in Oleanna).
"Story of Boxes" -- family storage, separation (Grace-John-boy), Grace-son boxes are gone. Boxes in John's office -- ]


* Utopia : 2007 project

"Dreams" in film.vtheatre.net [Fellini, Kurosawa, Tarkovsky, Bergman (left)]

Film600 files -- how to work on them?


eTheatre DREAMS

2006: webdairy & American Book
What are Web Arts? Play of voices (dialogical nature, Bakhtin), Games of Narrations. The Maze....

Music has to have structure so string, because it's invisible and wordless. Web requires even greater discipline -- too much power, too much freedom....

Dreams are badly written. Plots are weak and chiotics, characters are not developted (like in my writing). We don't remember dreams for the same reason we foggeting all the movies we see.

Not a website, it's only a place, but WEBSTORY -- I remember my EXPERIENCE and bookmark it to return -- but do I stay with the the images and sounds after I leave?

What are the aesthetics of the Web?

Too early to ask?

But already have rules and principles!

Interaction of many realities?


WWW III : ME (Everyman, Each Man, All Men) ...

[ pov.vtheatre.net/dreams + russian dreams + ... ] [ diary pages ... and now blogs? ]
... When each is a nation and we all powerful individually as tribes to fight this PURE & TOTAL WAR for attention.

"Do't touch!" -- the rule of the strip bar. This is COOL WAR. Fun. You have to give up and you will, I win.

Don't touch! You can't touch the creator, only his creatures.

In a position of gods -- we, webmasters of the worlds.

God doesn't write or paint -- He makes others do it it all.

... Oh, I have many characters acting as a heroes -- Rusam, Ant, Afronord, Anatoly48, Sellassie. They are dealing with readers, viewers and visitors.

How do they relate to each other?

Are there "real" people? They are mentioned. Non-fiction? but VIRTUAL IS THE FICTION. It doesn't exist outside of cyber space, like a dream doesn't exist outside of me-dreaming.

No, not visions, but dreams; it must be very personal -- for one and one only.... what is why it's open to all. How would I know who is the one? Maybe you?

[ image : my dreams ]

[ ... ] vtheatre group messages.

We respond to a drama to that extent to which it corresponds to our dream life. ... The play is a quest for a solution. As in our dreams, the law of psychic economy operates. ... The American theatre, acting as a collective mentality, operates ... on considerations which approximate those which determine the individual's choice of dream material: "Does examination of this idea, of this action, seem to offer a solution to an unconscious confusion of mine at the present time?"
(Writing in Restaurants 8-9)

Mamet's sense that theatre stages the contents of America's collective unconscious and, through that staging, translates those contents into consciousness suggests (although he does not make this point himself) that theatre can demystify and perform a kind of ideology critique of the desires and values inhabiting our national unconscious that, to borrow Jameson's term, is a political unconscious, rather than some amorphous psychic entity. This is not to say that Oleanna sets out to anatomize the roots of misogyny in American society; however, that so many of those who see the play take evident satisfaction to the point of cathartic release in the violence directed not simply at a woman, but at a woman backed by and identifying herself as spokesperson for a feminist "group" raises the question: What can Oleanna tell us about the uses of misogyny, about the frightening "need" for misogyny, at the particular cultural moment at which we find ourselves?

[ "'We're Just Human': Oleanna and Cultural Crisis"
Critic: Marc Silverstein
Source: South Atlantic Review 60, no. 2 (May 1995): 103-20. ]

... videos are gone : Bergman, Wild Strawberries

[ image analysis ]

Oleanna & Dagerous Liaisons

dreams.vtheatre.net : Tarkovsky, Mirror [vid is gone]

@2000-2001- ... eTheatre

Of course, Fellini, 8.5 [ see my film pages for video ]

Utopia & Itiopia...