[silence] Circus
Marcthor97@aol.com
Marcthor97@aol.com
Mon Jun 1 00:47:55 EDT 2009
hi Stephen,
You have an interesting question. Obviously the character of the source
text is going to come through in a writing-through mesostic. I am finishing a
musicircus on "On The Road," by Jack Kerouac. It was a good text to work
with, full of mentions of specific locations. I like the American-ness of it,
the rhythms and images. The first part of the musicircus mix is posted at
http://acousticlevitation.org/musicircus.html
and that page has a link to my reading of the entire writing-through
mesostic. (The upcoming performance at Brooklyn College this Fall will cover all
five parts of the novel and will include live performers.)
Perhaps as an exercise each student in your class could choose three texts
and write through the beginning pages of each (maybe with three different
strings) then discuss what worked best for them and why. They probably need
some oversight. I'd think about giving them a limit on length also. It takes
a long time just to do the actual writing through. Then you have to make
some thoughtful decisions about how to turn the resulting data into a poem.
In a message dated 5/18/09 11:21:09 AM, S.Benson@uea.ac.uk writes:
> Dear All,
>
> My question concerns the 1979 score _, _ _ circus on _. Have there been
> realizations of this piece other than Roaratorio, and if so, using which
> texts? More generally, I wonder to what extent the piece is dependent for its
> success on a text offering a significant level of verbal density or
> richness, a model for which would of course be Finnegans Wake. I have a couple of
> ideas I'm thinking of working on with my students, but I'm a little
> concerned about allowing a free choice of texts when the choice may run the risk of
> a rather flat or dull performance (not that that's uninteresting, I know).
>
> Many thanks for your help.
>
> Stephen Benson
>
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