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Notes G

The following note by Stephen Dunn, age 12, discuss "The Life and Times of Sigmund Freud" by Robert Wilson .

The Life and Times of Sigmund is a three act play. It is not a play like the ones that have a lot of talking and little focus on the body. The Life, as I will call it from on, is exactly the opposite; veery little talking and the focus on Body, body actions. Many of the actions are quite ordinary such as walking a(cross) the stage. The scene is usually static and when someone walks across the stage you see things you wouldn't normally notice in busy New York Streets or in Iowa City perhaps. 

....Any set of extraordinary movements is called "A Movement" There many move different "movements" moving during the play moving as to be the same. The body moving very fast so ass to go a little forward at a time as compared with the "movement" where the women move very slowly. The play sometimes can get boring when there only ordinary thing like walking. The audience reaction was bult up tenion and when some thing that in a conventional play would not be funny but none of these thing could occur in a conventional play anyway. Some things I know. About the third act are, it very dramatic, the zones or motion and indefinitely, it is the climax of the play. I will try to give a dircription, it starts with people making very strange sounds and me being draged around back stage by these two women then a long collom is formed with me in it, the collom moves upstage I get out and lie down at the part of the stage closest to the audience next to a table witch Freud is sitting. I don't know what happened to the collum. Then the people dressed us animals slowly move into place in a large arc ( the part about the animals may not be accurate as I did not see it.) Then I cry out and die and after the last cry someone runs in towrd me freezes and a piece of glass falls from the ceiling and the cur(tin) f(alls)
Before each rehearsal we did some concretion exercises to relax you, it is very im(portant)to be relaxed uring each pre(form)ance or else the audience will sense it and it will have an effect. We also did a lot of other things different purposes, timing play has to be timed precisely since there are literally 100's of entrances tecknicle because there tecknicle goes and goes and because the quality of the work you can't do everything lousey. Byrd Hoffman is very in your own body, he says that to use your body in space, he says that is to use your mind and concentrate on something that you have to use your body. He is right to concentrate on something like that you have to use your body to be relaxed witch is necessary for most of us everything concentration. He doesn't like conventional dance because it is rigid and conventional plays because they are all mouth and no body. If you see one of his plays, don;t ask what it means since there is no special meaning. Underneath Just look at it as it is, people moving in space. If you look for meaning you will go nuts.

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The following note by Stephen Dunn, age 12, discuss "The Life and Times of Sigmund Freud" by Robert Wilson . The Life and Times of Sigmund is a three act play. It is not a play like the ones that have a lot of talking and little focus on the body. The Life, as I will call it from on, is exactly the opposite; veery little talking and the focus on Body, body actions. Many of the actions are quite ordinary such as walking a(cross) the stage. The scene is usually static and when someone walks across the stage you see things you wouldn't normally notice in busy New York Streets or in Iowa City perhaps. ....Any set of extraordinary movements is called "A Movement" There many move different "movements" moving during the play moving as to be the same. The body moving very fast so ass to go a little forward at a time as compared with the "movement" where the women move very slowly. The play sometimes can get boring when there only ordinary thing like walking. The audience reaction was bult up tenion and when some thing that in a conventional play would not be funny but none of these thing could occur in a conventional play anyway. Some things I know. About the third act are, it very dramatic, the zones or motion and indefinitely, it is the climax of the play. I will try to give a dircription, it starts with people making very strange sounds and me being draged around back stage by these two women then a long collom is formed with me in it, the collom moves upstage I get out and lie down at the part of the stage closest to the audience next to a table witch Freud is sitting. I don't know what happened to the collum. Then the people dressed us animals slowly move into place in a large arc ( the part about the animals may not be accurate as I did not see it.) Then I cry out and die and after the last cry someone runs in towrd me freezes and a piece of glass falls from the ceiling and the cur(tin) f(alls) Before each rehearsal we did some concretion exercises to relax you, it is very im(portant)to be relaxed uring each pre(form)ance or else the audience will sense it and it will have an effect. We also did a lot of other things different purposes, timing play has to be timed precisely since there are literally 100's of entrances tecknicle because there tecknicle goes and goes and because the quality of the work you can't do everything lousey. Byrd Hoffman is very in your own body, he says that to use your body in space, he says that is to use your mind and concentrate on something that you have to use your body. He is right to concentrate on something like that you have to use your body to be relaxed witch is necessary for most of us everything concentration. He doesn't like conventional dance because it is rigid and conventional plays because they are all mouth and no body. If you see one of his plays, don;t ask what it means since there is no special meaning. Underneath Just look at it as it is, people moving in space. If you look for meaning you will go nuts.