David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :
'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)
(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.
We first saw Glenda Jackson as Charlotte Corday in the early 1970s, in Peter Brooks 1967 film of 'The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade'.
The title is usually shortened to Marat/Sade, after a 1963 play by Peter Weiss. She, the film, the play (we even bought the Peter Weiss script) all impressed greatly.
Theatre of the Actors of Regard ] TAR ( has its beginnings t/hereabouts.
Jackson quit acting in 1991 to concentrate on politics – she had joined the Labour Party at 16. In 1992 she was elected as a Labour member to the House of Commons in the UK Parliament where she remained for 23 years, before retiring at age 79.
Theatre of the Assemblies of RepresenTARtives
detail
A Person Looks At A Work Of Art/
someone looks at something...
LOGOS/HA HA
