Mercurial first appears as a strewn machine (machinic)- with the outlay of its parts spread all across the stage and an intrepid voyager appearing (Dana Michel) very painstakingly and very slowly dragging across the floor to gather lost things and parts. Everything seems to be in a kind of slow motion as though a world had imploded right there before us, and with one last person “there”. “There” in first the phenomenological sense and then “there”, in the post apocalyptic sense, to gather objects, things, and fragmented ideas ”that perhaps had once been”.. Continue reading
A gruesome stage with distressed walls. The inside of a manor of past great glory. A “great house”, as it were. This great house has something of a rootedness, something of an invasiveness especially after the incident. The house with the vines that will soon overrun it, the detritus state it will soon be in also being the detritus state its two inhabitants will live with it.
Scrivener & McGill Improv Present: A Live & Hearty Starlit Eventide of Muse-Hallowed Verse Enacted by the Spontaneous Thespian Club: Scrivener Creative Review and McGill Improv are combining forces! Join them for a night of fun times, live poetry reading, and improvised scenes inspired by their poets’ work. Also, there’s food! It will be on Nov. 11th, 7:30pm at Le Cagibi.
Cité sans frontières / Solidarity City / Ciudad Solidaria (Montréal) présente ★ Party de financement et danse reggae // Reggae dance party fundraiser ★ Vendredi le 6 novembre, Cafe l’Artere (7000 avenue du Parc - metro Parc), à partir de 22h (jusqu’à tard!) $5 à $10 ou payez comme vous pouvez.
Eastern Bloc Lab is hosting a DECONSTRUCTING THE SCIENTOLOGY E-METER (workshop). The workshop is given by Jamie Allen and Shintaro Miyazaki, in the context of BPLTC II. The technological presents itself as the forward image of our desires, and these projections often cause us to hide what should be resolute disappointment or dissatisfaction. Often things that don’t work simply must, as we’ve invested so much time, effort, emotion and money in them. (We would feel rather silly admitting how cumbersome and dysfunctional our new laptop is, after spending several thousand dollars on it… yet it still can’t connect to the printer!). This rather legitimate disappointment we moderns often hide from ourselves is part of what makes all technologies in some sense ‘apocryphal’: dubiously authentic, spuriously reliable, and suspectly ‘functional.’ All thinking is speculative, and technologies absorb this speculation: from truth telling, to bodily enhancement, to cognitive amplification. (Saturday November 7, 2015, 1pm – 4pm – Sunday November 8, 2015, 10am – 4pm. Price: $30) To reserve your place, please email firstname.lastname@example.org (10 people max!)
Librairie Drawn & Quarterly presents Carrie Brownstein launches Hunger Makes Me A Modern Girl in conversation with Jessica Hopper on Nov. 16th, 7-9pm (doors close at 5:30pm), at the Ukrainian Federation Hall. Carrie Brownstein is the guitarist in pioneering rock band Sleater-Kinney and the creator/co-star of the wildly popular television show Portlandia. Hunger Makes Me A Modern Girl (Riverhead Books) is Brownstein’s debut, a candid, funny, and deeply personal look at making a life—and finding yourself—in music. Brownstein will be in conversation with Jessica Hopper, senior editor at Pitchfork and author of The First Collection of Criticism by a Living Female Rock Critic (Featherproof Books). Tickets on sale 10am, Friday, October 9th. Available at 211 Bernard Ouest or online https://www.eventbrite.ca/
Lewis Carroll‘s devotional to the world of children (intertwined with his own personal controversies) might act as exemplary of the very two way street that sits along all apparent surfaces; Carroll’s oeuvre and life with “bizarre and esoteric words, grids, codes, and decodings”.
As in his type of work, the glyphs, word/world constellations, and dances across the page and in the story might break the axes of otherwise accepted surfaces. These surfaces might have “certain points of one figure” referring “to the points of another figure”; that below and beyond the surface of things, there might be another world and realm that corresponds to that above, “an entire galaxy of problems with their corresponding dice throws, stories, and places”
Frédéric Tavernini presents this beyond or below the surface of things in his latest dance theatre piece, Wolf Songs For Lambs. As Tavernini says of his daughter’s influence on the piece, “My daughter made me want to become a child again, and like her to construct a whole imaginary child’s world seen by an adult” (DFDANSE).