Sunday, Sunday, Sunday

Today is Sunday. 

Three Sundays ago in New York, members of the Broadway theatre community gathered in tribute to Stephen Sondheim.

Together they sang 'Sunday' from 'Sunday in the Park with George.'

ALL

Sunday,
By the blue, 

Purple, yellow, red water
On the green, 

Purple, yellow, red grass
Let us pass
Through our perfect park,

Pausing on a Sunday
By the cool, 

Blue, triangular water
On the soft, 

Green, elliptical grass
As we pass 

Through arrangements of shadows
Towards the verticals of trees

Forever ...

By the blue

Purple, yellow, red water
On the green

Orange violet mass
Of the grass
In our perfect park,

Made of flecks of light
And dark,

And parasols ...

GEORGE

(Hums as he works)
Bumbum bum bumbumbum
Bumbum bum ...

ALL
People strolling through the trees
Of a small suburban park
On an island in the river
On an ordinary Sunday
Sunday, Sunday, Sunday

Below, Lin-Manuel Miranda reads from 'Look, I made a hat : Collected Lyrics (1981-2011)'.

"This is the only lyric I've written that consists of one long incomplete sentence. I wanted it to be like the descriptive caption you might read in a museum next to the painting."

- Stephen Sondheim

Theatre of the Actors of Regard    

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

  

     

Nikki Danjo and the rat of TAR

click image to enlarge  

above : The rat of TAR grabs the plotters' Label scroll and disappears off-stage in a cloud, but not before Otoko-no-suke strikes it on the forehead. 

Dressed in rat gray, Nikki Danjo now appears on stage with the Label scroll as ecTARplasm. By a magic hand gesture, he becomes invisible.

  
- re. The Precious Incense and Autumn Flowers of Sendai / Meiboku Sendai Hagi (1777-)

Theatre of the Actors of Regard  

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

  

TARfest19 : Behavioural Awareness Officers Quell Screaming Teens

 [Intro: Suffa]
 For my people in the front
 In the nosebleed section

 [Hilltop Hoods : The Nosebleed Section]

 [Verse 1: Suffa]
 This is for the heads that's loving the mix
 My people in the front, all covered in spit
 Batter's in the box, Suffa to pitch
 Hilltop Hoods all up in this bitch...

courtesy AAA_ArtArchiveAustralia  

 [Verse 2: Suffa] ...

 This is a comeback, tongue that’s sharp like a thumbtack
 It's so tight James is saying, "Give my funk back"
 One track, eight track, ADAT, residual noise
 Man, fuck that, we clean with the digital toys
 I'm the Apache, you're failing to match me
 Throw your hands in the air like you're hailing a taxi
 And move to the funk flow, you stepping? Are you drunk, bro?
 This is for my peeps and the freaks in the front row

    Theatre of the Authorities of Regard  

 [Verse 3: Suffa]

 People don’t complain if Suffa’s in here
 And you’re in the front row all covered in beer
 And club owners don't say, 

    "The place is wrecked, it's your fault"
 If the roof is on fire, it's an electrical fault
 Man, I bet you all bolt when I bring it live

 Like Friday night footy, in my hoody I can hide...

    Theatre of the Authors of Reaction  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

Intrigues of the Void

After a campaign of critical co-option ] Resistance Is Futile ( come auction night, Christie's realised a record price for a Work Of Art by a Living Artist : $US91,075,000 for a Jeff Koons 'Rabbit' (1986), number 2 from an edition of 3 plus 1 artist's proof. 

 A full-page ad in the New York Times to promote the auction
 of Jeff Koons’ 'Rabbit'.

 A woman looks at Jeff Koons' "Rabbit" from the Masterpieces 
 from The Collection of S.I. Newhouse at Christie's New York
 press preview on May 3, 2019 as part of Christie's Post-War
 and Contemporary Art evening sale. (Photo by TIMOTHY A. 
 CLARY /AFP) / RESTRICTED TO EDITORIAL USE - MANDATORY 
 MENTION OF THE ARTIST UPON PUBLICATION - TO ILLUSTRATE 
 THE EVENT AS SPECIFIED IN THE CAPTION ( Photo credit 
 should read TIMOTHY A. CLARY/AFP/Getty Images)

Theatre of the Actors of Regard   

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

55 PHASES OF LOOKING

Long Play is a boutique Cinema & Bar
in Melbourne that has a bar up the front,
and a small dedicated cinema at the back

INFO FOR ALL SCREENINGS

As seats are limited, please book by emailing 

Bill Mousoulis at bill@innersense.com.au
The venue is at 318 St. Georges Rd, Nth. Fitzroy. 

Do not go to St. Georges Rd, Northcote.
All sessions start at 7:30 pm. If booked out, there may

be (no guarantee) another session at 9:30 pm.

There is a small entry charge of $5 per person. 

Cash only, and try to have the right amount on you.

Unknown Pleasures: Australian independent cinema is a series of semi-regular screenings curated and presented by Chris Luscri & Bill Mousoulis, featuring the best of Australian indie cinema, both new and old, narrative and non-narrative, with discussions with most of the filmmakers, presented at Long Play Cinema. 
read more

--------------

Thursday, April 11, 2019, 7:30 p.m.
$5 entry. To book a seat, email bill@innersense.com.au

55 PHASES OF LOOKING
(2018, 53 mins, James Clayden)

Intro & Q&A with James Clayden

Recently, James Clayden has been experimenting with web-based video forms, consciously refining his practice through a unique methodology that makes extensive use of prior film and video works. The culmination of this is 55 PHASES OF LOOKING– comprised of re-filmed and digitally altered fragments (some originally shot on Super 8) from almost a half-century of film-making, “chopped and screwed” to profoundly personal effect, tremulous with anxiety and deep melancholy. 
(Chris Luscri)

Apart from 55 PHASES OF LOOKING, the short film GLASLOUGH 64 (2018, 3 mins) will also screen.

The project began about eight years ago with the working title LOOKING FOR CÉZANNE (Perception & Illusion). After shooting material in France, I thought I knew what I was doing but I struggled to find my way to put it together.

Then by chance, I read a book – THE ENTANGLED EYE by James Krasner – which inspired me to abandon my original idea, out of which came 55 PHASES OF LOOKING. My approach was to treat the everyday things that took my fancy in the same manner that I treated my dreams and memories in my previous works, more or less like an improvisational visual essay, with Darwin’s “entangled bank” in the back of my mind, as if making improvised music, where the way it feels is everything.

The idea of making the piece for a small screen appealed to me a lot, as it does to have no protagonist or victim nor obvious narrative, as in painting the mystery is an essential thing.

-- James Clayden

This presentation of 55 PHASES OF LOOKING is something of an experiment – borne of curiosity but innately animated by something more mysterious. A way of testing the limits, both audience and artist? Of parsing over, imbibing, 'turning' the object, glint by glint against the light? Of plumbing hidden depths, of image blown all out of proportion? All of these things, for sure – but this list is not exhaustive. No other Australian artist works with texture quite like James, so definitive and violent are his interventions. To suggest a canonical presentation gestures toward an inert deadness, a sense of composure and containment that I suspect James would instinctively react against: tools in hand dissolved, awash in the interstitial sensations that arise from the practice of looking, perceiving and reacting. For all the dizzying and rhizomatic formal complexities at play, the motivation is as simple as this – an Impressionism borne of deep personal truths (as in the inaugurably canonical GHOST PAINTINGS series) and passionate devotion to his vocation, complete with its own iconography of wonders, terrors and trancendents. James Clayden is an extraordinary human being.

-- Chris Luscri (curator)

Theatre of the Actors of Regard 

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

Hitoshi Shinso and the Responders of TAR

   

Hitoshi's Quirk allows him to mentally control people who verbally respond to him and, as a result, they will be forced to do whatever he wants. However, this Quirk will not activate if he does not will the brainwashing on the responder.

Though he can have multiple people under his brainwashing at once, he has stated that trying to brainwash multiple people simultaneously could cause him to fall unconscious. He is also unable to have his victims do things that require some kind of advanced brain function, like writing a name from their memory.

Using a megaphone or anything that makes his voice artificial will not allow his quirk to activate, which is why his Artificial Vocal Chords only modify the tone of his voice, and nothing else.

Theatre of the Actors of Response  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

 

Fanbase Merger

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

         

 LOGOS/HA HA

Fans of the Label

If permanent metal Labels are not realistic, perhaps, at least for the passing present, the use of personal Label fans?
  

 Matsumiya Kayama (1686-1780) 
 TARist fan with Label text

To tremble the airs and aether of our regard.

collection Theatre of the Actors of Regard  

Here's a set of three, used by your correspondent.

FIAPCE  

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

         

                     LOGOS/HA HA