T - + - R

This glossy 8x10 arrived out of the blue with several others placed inside an old folded movie poster.

Recognised as a classic Theatre of the Actors of Regard document worthy of further regard, Henry Weatherfield & Associates were commissioned to sign-write it as it now appears.

click image to enlarge 

Theatre of the Actors of Regard 

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

  

  
   

Vale the great Glenda Jackson (1936-2023)

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 

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A Person Looks At A Work Of Art/

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a female gaze

Theatre of the Actors of Regard
present

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A Person Looks At A Work Of Art/
someone looks at something...

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* The female gaze is a feminist theory term referring to the gaze of the female spectator, character or director of an artistic work, but more than the gender it is an issue of representing women as subjects having agency. As such all genders can create films with a female gaze. Wikipedia

Theatre of the Actors of Regard 

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 A Person Looks At A Work Of Art/

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Vale Jean-Luc Godard (1930-2022)

   

Theatre of the Actors of Regard 

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A Person Looks At A Work Of Art/

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Three Colours : TAR

 Krzysztof Kieślowski          Three Colours : Red          - 1994 -

       QAGOMA  

 with PUPPET CULTURE FRAMING SYSTEM                                     - 1979 - 

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

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It's a hit!

We remember seeing Running Jumping Standing Still 

in Melbourne in the late 1960s. 

Their big hit was a variation of Bo Diddley and Willie Dixon's Diddy Wah Diddy.

see : Songs of LOGOS/HA HA

          L  Diddy  Wah  Diddy  S

Presumably, the band took their name from the short film Running, Jumping and Standing Still by Richard Lester, Peter Sellers, Spike Milligan and others.

Their big hit comes from the Fourth Wall borderlands ...



Today, we present Running Jumping Standing Still-Life.

Theatre of the Actors of Regard    

A tableau ...

Theatre of the Actors of Regard    

... in which TAR gives a whack and takes a hit! gives a whack and takes a hit! gives a whack and takes a hit! 

gives a whack and takes a hit! gives a whack and takes 

a hit! gives a whack and takes a hit! gives a whack and takes a hit! 

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A Person Looks At A Work Of Art/

someone looks at something...

  

LOGOS/HA HA

       

     

    

By Arrangement

Last night, we watched 'Harry Potter and The Half-Blood Prince' again. 

Coming upon the SINCLAIR+GALLERY research, a new schema detail comes to the fore : Ron Weasley’s pre-quidditch breakfast.

We see/we are shown Ron look down at it, too anxious to eat.

Theatre of the Actors of Regard   

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 A Person Looks At A Work Of Art/

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Spoiler Alert re. 'Logan'

     
Last night, we watched 'Logan' (2017).

At the grave, Laura quotes from 'Shane' (1953).

Then, coming upon the SINCLAIR+GALLERY research, comes Laura's parting act. Turning upon turning...

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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La Grande Bouffe < blow-out

Philip Brophy in this weekend's MeMO review :

          Everyone simply loved it. State politicians stood in front of it (like every moron in Melbourne) to have their photo taken. The NGV website has a short promo discussing its curatorial purchase and placement. But do you think I could find anyone anywhere to critically engage with this work, short of reprising the NGV’s sound-bytes or Anadol’s own assertions? Am I second-guessing that most MeMO readers saw it, hated it and can’t bring themselves to even remember it? Maybe therein lies the core of the problem: how screen culture’s increasing leakage of totemic and monumental art commissions constitutes a critical drowning-out of discursive engagement.

Theatre of the Actors of Regard  

NGV Triennial 2020 installation view of Refik Anadol (designer); Refik Anadol Studio, Los Angeles (design studio) Quantum memories 2020. Commissioned by the National Gallery of Victoria, Melbourne. Proposed acquisition with funds donated by Loti & Victor Smorgon Fund and Barry Janes and Paul Cross, 2020 © Refik Anadol. 

Photo: Tom Ross

As above, so below :

     TARist

     projection-space

     words

 Yosa Buson (1716-1784) ink paper scroll digital reproduction regard

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 A Person Looks At A Work Of Art/

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CULTURAL CONSUMPTION PRODUCTION

   
A centaur is a creature from Greek mythology with the upper body of a human and the lower body and legs of a horse. - Wikipedia

A centipede is an elongated metameric creature with one pair of legs per body segment. - Wikipedia

A cenTAR is a walk-on composite from Theatre of the Actors of Regard

The Human Centipede (First Sequence) is a 2009 Dutch horror film written, directed and co-produced by Tom Six. The film tells the story of a deranged German surgeon who kidnaps three tourists and joins them surgically, mouth to anus, forming a "human centipede".

A cenTARpede is an elongated metameric composite from TAR mythoLOGOS/HA HA. 

The Human CenTARpede  

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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Immoral Tales (continued)

2020 : NGV acquires $25million Blood Bath of Venus
see installation below :
after Immoral Tales (1973), Walerian Borowczyk / TAR

We calculate with some concern the sparsity of drainage fittings ...

TARist models regard Venus stepping into ...

(knock knock knock knock knock knock knock knock knock knock)
That must be the first architect now. Ah, yes. It's Mr. Wiggin of Ironside and Malone.
MR. WIGGIN: Good morning, gentlemen. Uh, this is a twelve-storey block combining classical neo-Georgian features with all the advantages of modern design. Uhh, the tenants arrive in the entrance hall here, are carried along the corridor on a conveyor belt in extreme comfort and past murals depicting Mediterranean scenes, towards the rotating knives. The last twenty feet of the corridor are heavily soundproofed. The blood pours down these chutes and the mangled flesh slurps into these large containers--

specific-bonding detail / Theatre of the AnaLOGOS/HA HA of Regard

CITY GENT #1: Excuse me.
MR. WIGGIN: Hmm?
CITY GENT #1: Uh, did you say 'knives'?
MR. WIGGIN: Uh, rotating knives. Yes.
CITY GENT #2: Are you, uh, proposing to slaughter our tenants?
MR. WIGGIN: Does that not fit in with your plans?
CITY GENT #1: No, it does not. Uh, we -  we wanted a... simple... block of flats.

MR. WIGGIN: Ahh, I see. I hadn't, uh, correctly divined your attitude...
CITY GENT #: Uh, huh huh.
MR. WIGGIN: ...towards your tenants.
CITY GENT #: Huh huh.
MR. WIGGIN: You see, I mainly design slaughter houses.
CITY GENT #1: Yes. Pity.
MR. WIGGIN: Mind you, this is a real beaut. I mean, none of your blood caked on the walls and flesh flying out of the windows inconveniencing passers-by with this one. I mean, my life has been building up to this.
CITY GENT #2: Yes, and well done, huh, but we did want a block of flats.
MR. WIGGIN: Well, may I ask you to reconsider? I mean, you wouldn't regret it. Think of the tourist trade.
CITY GENT #1: No, no, it's-- it's just that we wanted a block of flats and not an abattoir.
MR. WIGGIN: Yes, well, that's the sort of blinkered, philistine pig ignorance I've come to expect from you non-creative garbage. You sit there on your loathsome, spotty behinds squeezing blackheads, not caring a tinker's cuss for the struggling artist. You excrement! You whining, hypocritical toadies, with your color TV sets and your Tony Jacklin golf clubs and your bleeding Masonic secret handshakes! You wouldn't let me join, would you, you blackballing bastards! Well, I wouldn't become a freemason now if you went down on your lousy, stinking knees and begged me!
CITY GENT #2: Well, we're sorry you feel like that, but we, um, did... want... a block of flats. Nice, though, the abattoir is. Huh huh.

- from Monty Python, The Architects Sketch 

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

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Happen Stance meets Horror Dance

stance (n.)

1530s, "standing place, station," probably from French 

stance "resting place, harbor" (16c.), from Vulgar Latin 

*stantia "place, abode" (also source of Italian stanza 

"stopping place, station, stanza," Spanish stancia 

"a dwelling"), from Latin stans (genitive stantis), 

present participle of stare "to stand" (from PIE root *sta- "to stand, make or be firm").

Sense of "position of the feet" (in golf, etc.) is first recorded 1897; figurative sense of "point of view" is recorded from 1956. The sense of the French word has since narrowed.

                     

Stand Dance (TAR)

see : I can't stop it/do that dance (Primitive Calculators)

see : Suspiria meets Climax
see : Theatre of Agit-Regard

Theatre of the Actors of Regard   

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

     

    

Ring (TAR)

 "I mean whatever you mean." The Ring (USA 2002)

Theatre of the Actors of Ring  

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 A Person Looks At A Work Of Art/

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TAR wheel (after Duchamp & Dharma)

  Marcel Duchamp, Rotorelief, 1949

  Marcel Duchamp, Rotorelief No. 5 – Poisson Japonais 

  Tibetan woman with Buddhist prayer wheels

  Tibetan prayer wheel disc

TAR wheel                               Theatre of the Actors of Regard 

Theatre of the Actors of Regard   

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 A Person Looks At A Work Of Art/

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TAR : Blood, sweat and canvas

 

BARTON FINK -- film script 

LIPNIK 

Hell, I could take you through it step by step, explain why your story stinks, but I won't insult your intelligence. Well all right, first of all: This is a wrestling picture; the audience wants to see action, drama, wrestling, and plenty of it. They don't wanna see a guy wrestling with his soul – well, all right, a little bit, for the critics – but you make it the carrot that wags the dog. Too much of it and they head for exits and I don't blame 'em. There's plenty of poetry right inside that ring, Fink. Look at "Hell Ten Feet Square". 

LOU 

"Blood, Sweat, and Canvas". (John Ford, 1934)

 

LIPNIK 

Look at "Blood, Sweat, and Canvas". These are big movies, Fink. About big men, in tights – both physically and mentally. But especially physically. We don't put Wallace Beery in some fruity movie about suffering – I thought we were together on that. 

BARTON 

I'm sorry if I let you down. 

LIPNIK 

You didn't let ME down. Or even Lou. We don't live or die by what you scribble, Fink. You let Ben Geisler down. He liked you. Trusted you. And that's why he's gone. Fired. That guy had a heart as big as the outdoors, and you fucked him. He tried to convince me to fire you too, but that would be too easy. No, you're under contract and you're gonna stay that way. Anything you write will be the property of Capitol Pictures. And Capitol Pictures will not produce anything you write. Not until you grow up a little. You ain't no writer, Fink – you're a goddamn write-off. 

 

BARTON 

I tried to show you something beautiful. Something about all of US –

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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car TAR (1955)

Late last night Ch. 9 showed the 2015 film LIFE.

Theatre of the Actors of Regard  

Life is a 2015 biographical drama film directed by Anton Corbijn and written by Luke Davies. It is based on the friendship of Life photographer Dennis Stock and Hollywood actor James Dean, starring Robert Pattinson as Stock and Dane DeHaan as Dean.

The film is an American, British, German, Canadian and Australian co-production, produced by Iain Canning and Emile Sherman from See-Saw Films and Christina Piovesan from First Generation Films with co-financed by Barry Films Production. Wikipedia

Set in 1955, an important chapter of LIFE is James Dean's return visit to his family's farm in Indiana. He takes with him the photographer Dennis Stock.

Above, heading back to Melbourne, John Brack's The Car (1955) passes Dean and Stock. As does the outgoing TARmobile troupe, below.

Theatre of the Actors of Regard  

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 A Person Looks At A Work Of Art/

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toasTAR boy

          'Inaugural auction defies pandemic' (2020.05.07)

          Australian Financial Review/Gabriella Coslovich  

Theatre of the Actors of Regard   

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 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA