The Theatre of the Dead – A Letter from Contemporary Poet to the Dead Fellow in Craft


Contemporary Poet:
(Life’s Pleas and Questions)

To start conversing beneath the soil,
watching death through a kaleidoscope,
the way it was lifted by the movie directors
and transplanted onto a movie screen.
In the opacity of the grave, there is water,
and gifts from the deceased one’s kinfolk
there is a lid which each of the departed –
once their eyes get used to the darkness,
that is – knows how to open.

Such suicidal maudlinism
from a vainglorious extraordinarium,
contemplating life and scribing
butterfingered sentences
Could it be said that you have managed retain
your catchpenny vanity even here and now?

I was inhumed with a hoard of quills and ink
Hence a misdirected bullet
I cannot bear to bid adieu sans the drama,
brought glad tidings to the world.
Extolling the sperm of Schiller and Whitman

O mine mister man O’Neil!
You grazing on the Irish pastures;
your entire life you wanted to be a simple shepherd,
and detach yourself from the homeland
that made you dedicate a stylized,
though dull prose dealing with wandering, wanderers, garbage collectors on an odyssey, Odysseys on the garbage heap of the world, you whose mother wanted you to be a priest!

You celebrated nicotine addicts
thinking I don’t belong among you
you who had your landed estates,
printing presses and titles,
oh how outraged you are by my novel
which would, had it ever been written,
outshine all of those burning thoughts
brought to you by a gust of wind,
which you fruitlessly call inspiration.

A seemingly impenetrable wall.
to the very end of the Earth and back.
the Earth is the Earth.
it belongs to the Living more than it belongs to the Dead.
their voices freed of the dark tone of cymbals
caused by the loamy walls

Reverberations lag behind the initial stroke,
rippling through the stagnant air
in the vast cave of the famous dead’s burning thoughts.
hordes of extras are shouting from the darkness;
murmurs, muttering, coughing and disapprovals
are heard, mixing with hysterical laughter
coming from the Department of Music&Theatre.

Startup the lights, antagonists!
let there be Music!
the Dance of Death commenced to the sound
of a cacophonous piano
brilliantly commingling variations to Salieri.
as the tempo accelerated unwaveringly,
Mozart kept flooring the piano pedals
as if they belonged on a priceless car.
his diminutive skull and compact hands
alternately rising and falling,
he guzzled from an empty bottle,
cackling, basking in the luminescence
of lanterns supplied by the archangels,
spilling over the entire gambling hall.

Clapping their metacarpals and phalanges
this crepitation lent rhythm to the eerie waltz,
fellow artists, write!
compose an ode, dancing to the rhythm with such skill!
get your bones clapping and your pens scraping,
smear the ink across your cranial bones!
here we are, performing for you the Dance of Death –
perform for us the story of a life!
bring out your musty quills,
ladies and gentlemen and with those marvellous
brains of yours – laden with letters, quills, brushes and paints
as they all undoubtedly are – highlight the wax figures’ tragedies.
grant them minuscule lampion houses to cram their meek lives into, dress them in patchwork quilts or golden harem pants;
make them heroes or cowards, thieves, traitors,
moralists and/or decent folk.

The Death’s Replica:

Let your quills glide as we,
borne by this eerie waltz, glide and lend rhythm.
we entertain you, resembling those models who,
weary of posing,
start pitching apples at each other
in order to keep their spirits awake;
and thus, seduced by the lyres
and the naked bodies wrapped in rugs
covered in Persian patterns,
those beauties maintain their perfect
comeliness devoid of boredom!

Hark the two ribalds!
‘Tis no dance, – ’tis no art, but a mass that accompanies our toils.

‘But…we are ARTISTS!’


The Artists

‘I’ve carefully gone through your text of Wagner, madam. Quite passionate, a tour de force. This is precisely why I don’t call myself a Wagnerian, you will permit me (I hope) to provide some of my critical input.’

Mary Lynne allowed herself a minute smile and crossed her legs at the table.

The man tried his hardest not to look at her lovely, thin legs.

‘You start the text off strong, with a title that cuts to the chase, that doesn’t wander. The readers think that you will…that you’ll…’ His frowning face softened. ‘As early as the first, then the second paragraph to expand upon, to provide arguments to the qualification you laid…laid out, oh dear, I’m losing myself…in the title, yeah, that’s the word, IN THE TITLE! He gathered his wits for a second and started banging his head on the table – and yet nothing.’

il_570xN.1015046746_brah

Vincent D’Onofrio (Cholo) with Mathilda May (Stephanie) in the movie Naked Tango the end of the film.

https://www.etsy.com/il-en/listing/276627324/black-and-white-nude-acrylic-painting

‘You say that he bullied his colleagues, and also that you cannot cite a single example, because there is nothing written, or disclosed. Funny, one would wonder: where did the daring claim come from that the man was a witnessed sadist when there are neither examples nor evidence of this? ’

The man extended his hands towards her. ‘Oh, Maryyyy…I will strangle youuuuu! With a wire string, dude!’

The man panicked. He grabbed her throat. He screamed. ‘I’m panicking! I’m panicking! I have to jump!’

And he jumped at her mumbling how truly unhappy he is.

‘Look at her, how easily she gives herself to me! You are no longer so prideful! Get yourself up, you low-browed dunce! Oh if only a wind could blow right now to lift your skirt up, and here I am having to put up the effort, they’ll even call this rape!’

‘And it would’ve been romantic’ Mary Lynne said coquettishly.

‘Right, like in Tannhäuser. Sing to me, sing to me, be my…Wilhelmina Schroeder!’

‘Is that like Venus?’

He lifted her leg in lieu of responding as if he were plowing a field. He flung it over his left shoulder.

Venus sang.

‘Do forgive me never more will IIIIIIIII

Come to me if fortune’s what you seeeeeeeek’

p03v9r6j

Sophie Koch as Venus in Tannhäuser

‘My fortune…’ He uttered between heavy panting and then flung her left leg over his right shoulder (where the other one went, he wasn’t sure). ‘My fortune lies in Mary!’

And he added:

‘I also think that the text would have had more impact if Hitler hadn’t been mentioned. What, there’s no bloody way that Stalin, who was none the lesser a monster and a murderer than Hitler, didn’t love Glinka or Borodin, or more likely Mussorgsky. That does not mean that these composers were vile men. There is a sizable possibility that Idi Amin loved Tartini or Paganini, why not. There are counterexamples as well. Beethoven loved Napoleon for years, he even devoted ‘Eroica’  to him, after which he got disappointed, gave up on Bonaparte.’

‘There.’ Mary said, after an explosive finish a la Eroica. ‘Now, will we do some Wilhelm Friedman for me, sweet lover?’

‘Start!’ With Mary’s dress at an arm’s reach, he quickly put on a dress and made-up and groomed in a manga style he lifted his hairy legs up high, swearing that the Cliven depilatory cream was not handy.

‘You know how much I care for hygiene!’ He wept.

‘Cold waxing is the best with the Tiger tire glue.’ She smiled. ‘Now have a listen…’

‘Oof…’

Between Expressions by Hamish Blakely

‘Wilhelm Friedman was spat upon to the point of pain. A boozehound died poor…(SIGHING) They then admit that he was the greatest instrumentalist of his age. The dude hit the clavier, not a single person could challenge him. A biography that on the surface looks like the buckish bios of notable rock musicians. Oy vey, there was a movie as well, I think the title of it is, in fact, Wilhelm Friedman, where he, apparently, suffers and struggles (SHE SIGHS LOUDER AND MORE PASSIONATELY) as a gifted son of a well-known father. The catch is that his father was nowhere near as noteworthy when Friedman was playing, and his problem was neither living in his father’s nor in his brother’s shadow (Mozart said about Carl Philip Emanuel: ‘He is the father, we are all his children’ (OH GOD!!!!), which reckless historians transposed as Mozart talking about Bach, and he didn’t.) (BOTH SIGH AND MOAN), but with all those flies, fleas and planktons that make up life and make up us humans, like a living organism, dead center in that life itself. Leopold Mozart, Wolfgang’s pops, picturesquely and colloquially described the habitus of Friedman Bach. ‘A remarkable musician, an unrivaled composer, but a heavy, heavy drinker.’’

He was panting. ‘I love Händel a lot. I have some undocumented version of his Water Music, therefore I do not know either who performed it or when, and the version is, just, it’s the balls, it tears ass… I listened to various different versions, but most of them are shit, can’t even come close to what I have. Händel and Telemann, by the way, I view as bigger composers than Bach. ’

Lars von Trier’s Antichrist was playing in the background during all of this. An erect phallus added to the magic and romance of the two. Candles were too much with all of these other stimuli. At the peak of arousal, they were slapping each other, arguing which composer is better.

antichrist

‘Boozehound, spendthrift, died poor, boozehound, spe…e…eh, dear husband, I think that will do for the evening.’

And while he was putting on man’s clothing, Mary Lynne sang Messiaen: Turangalîla-Symphony (Joie du sang des étoiles) in front of the mirror, the director of the Artist’s Trilogy Ron Gabe Bonester went upsy-daisy and with a ‘Camera, cut!’ he marked the end of the shoot.

‘I gave you too much freedom! None of that was in the script!’ He paused for thought. ‘Now you, kid, get Mary a gun to blow your brains out!’

The actress went upstart. ‘That wasn’t the deal!’

Bonester shouted in response to this. ‘Nobody questions my authority! For two hours behind that there…glass compartment…the Australian minister of culture is sitting and waiting for the script which will present his arduous devotions at the Art Conference focusing on non-profit management. Our country cannot develop economically without innovation in that particular field. And education! Who do you think you are? Who bought me this Canon EOS 6D to shoot you guys? Get serious, woman, and continue the oral, along with Chopin and your husband.’

‘But…we are ARTISTS!’

crcreepymonalisa-copy-511722

‘An overrated term. I do not exchange my ideas with the personnel. We directors laud a vibrant and growing creative economy!’

Then both He and She approached him and pounded him into the ground, while Bonester slid on the floor in his oversized suit.

‘Shall we continue where we left off?’

‘You mean…while the Minister Behind the Compartment observes?’

‘And then a gun to the head, like Romeo and Juliet. Or was it poison? But let’s not split hairs.’

‘That would probably be a mistake, but…as I said… we are artists, dear colleague, and a happy couple in Art. We cannot live on without the drama.’

‘And voyeurs,’ someone whispered, sat in a chair where the now unconscious director lay and followed this up with a thunderous applause.

Then the trio continued the show agreeing that the Husband should be given any old name.

Mary’s gaze flew up and she said: ‘He will be named Frederic. Like our unborn son.’

Nobody objected, therefore Frederic could begin.

The Minister, who physically reminded one of the head electricians, would record something with an expensive video camera. But under the condition that he played Chopin.

‘Bah bah, the Best Boy.’ Both send passionate kisses to him. Then, with an erotic play, they embraced.

‘Artists, such artists,’ mumbled the Mysterious Traveler, the Spectator, the Third Without Whom You Can’t Go On, from the artistic Kingdom of Heaven.

But Mary Lynne and Frederic were in their own world, wreathed in music and gifted with a gift worthy of the Gods.

The camera buzzed. Reflectors flashed.

6b9f918032e2324a623bdc89772c8205

SCENE 25:

‘I’ve carefully gone through your text of Bach, madam. Quite passionate, a tour de force. This is precisely why I don’t call myself a Bachian, you will permit me (I hope) to provide some of my critical input.’

SCENE 26:

‘…as far as the Bach family is concerned, I love Wilhelm Friedman and Carl Philip Emanuel, they rule, each in their own way, but I dug up some other guys as well – for instance, Johann Bernhardt Bach is also excellent. In the classical era, Johann Christian Bach stood out. Imagine that wondrous family tree, this beast of a family, which branched out during a good hundred-and-so-year period, and bore nothing but interesting musical fruit. Crazy.’ (SCREAM)

CUT.

Cats, theatre play, scene 5


Cats, theatre play, scene 5, Leila Samarrai, translated into English, Mazikeen Leila Smith

Read it fully, deeply, and completely on the link below.

http://eckermann.org.rs/article/macke/

SCENE 5

(The Holy Paramore and Saint Peter are sitting together, cheek to cheek, staring at each other lovingly, outside the gates of Heaven.)

THE GATES OF HEAVEN

SAINT PETER: Sweetie, I would tear down the sky for you if you ask me!

THE HOLY PARAMORE: That’s not possible, my angel. We are already in the heavens.

SAINT PETER (he is kissing her forehead) You are choosing words wisely, my ethereal love.

THE HOLY PARAMORE: Well, then, my honey, my sweetie pie, my darl… always honourable, acquitted from all sins and free of defilement (sigh) I’d give you all my bury bones.

SAINT PETER: And I’d give you all my hagiographys! But don’t my lamb chop, don’t bother… my heart leaps to see you again, almost stopped with happiness! My tongue got tangled, like tree branches, that’ s all so wonderfully romantic! – weaving a knotted web. Keep your relics for yourself. You’ll need them when you least expect it. Say, as far as your parents, were they enjoying considerable wealth? When they were alive?

THE HOLY PARAMORE: Maybe they would’ve been, but they died out millions of years ago, beloved.

SAINT PETER: (shaking his head) Such a write off. I don’t need anything besides you, thou that art highly favoured. Along with other virtues which are not worthy of you or of that expensive dress you are wearing.

THE HOLY PARAMORE: It warms my heart knowing you are having second thoughts when it comes to receiving gifts, my inamorato, for it suggests the sentiments which are disgusting to both of us. Bad, black acts governing both heaven and hell. And all violations and transgressions, can’t even approach two greatest sins, my flame.

SAINT PETER: And what since might those be, my true love?

THE HOLY PARAMORE: These two: a materialism and an adultery.

SAINT PETER: Blessed be.

THE HOLY PARAMORE: You’ve been spending too much time with Satan’s ferryman, my one and only. He is a bad influence on you, my Pippin. Should I be concerned?

SAINT PETER: But, my crackajack, my peach, my sugar, you always told me: Peter, you’re gentle like Lorca’s rosebud. But only sweet imp, a devilish masculine type is fit to be my real husband. I am having trouble enjoying the company of that mad, bad sinner, my holy par – amore, my significant other. But, that’ s the only way that I can learn high/level pranks and stuff. I’ m doing all of this for you, paramour. Whatever I do… maintaining my vow of chastity, I ask him, now and then, to teach me how to dodge, to cheat, to turn tricks, to…

THE HOLY PARAMORE: Trick, what trick? Any unusual sin? Sure! This must be.. ah! Tell me! (her eyes shine)

SAINT PETER: Blessed the cheek…! Recently… (scratches behind his ear) He, Emanuel, our hellish ferryman, disguised as John The Baptist, he swung a censer as he danced a Limbo dance, calling for souls in Limbo, making them swim in groups.. in Styx, yelling: Bathe and prepare to meet the Chief, citing verses 42-43… a moment Paradise filled up with sinners, choking angels with devilish smoke, while he was still singing: “The bath is full” while I.. oh my dearie, my knockout, my holy par amour.. I’ve had my hands pretty busy putting them all back in and to straighten out Emanuel’s mess. Suddenly, a stubborn Limbecile, since he was obliged to come home to the antechamber of hell, took his own life. He liked Paradise so much that he actually thought he was innocent. Of course, this was just a hell – loop…

THE HOLY PARAMORE: (squeezing her ethereal little legs just a little harder, her cheeks reddened)
O, sacrilège!
O, blasphème!
Isn’ t that what happened? Terrible thing.

SAINT PETER: There’ s more! Emanuel ordered Pizza capricciosa for the Gluttonous of the Third Circle of Hell… a special-order kind of thing: one for Cerberus – The chilli peppers give it a real kick.

THE HOLY PARAMORE:
Quite the scandal. Say no more! Not a second thought! Strike it from your mind, my darl, such a leechcraft, no more! Keep your high-quality pectoral cross washed clean of all the black marks, for he shall forever glow as a sign of perpetual light!
As for your Eden Key, Peter, bring it to my ethereal bed, Romeo!

SAINT PETER: (Peter, his lovely eyes intent on his Key, breathlessly..)
The apple of my eye! I got a report on the Sanitation department of Eden… It is written: The key won’t get rusty, Peter if you keep him someplace dry.

THE HOLY PARAMORE: Not before he serves his purpose. Oh, Peter! Hug me, hug me, hold me, Peter! Almighty, wrap him up in dark bedsheets. Let there be dark! Let him go forth, out of the dark, come out, a beautiful gloomy face of my true love! A, he’s asleep!… (she’s up, stepped into the Garden, butt- nagged for gods sakes)

THE HOLY PARAMORE: Oh, you, a madcap little devil of mine! Cheater! Hustler! Handsome sleaze – bag! O, I loved the way how you banged me in the clouds and there I lay pretended I were dead!

EMANUEL: (peeking over Tree of the knowledge of good and evil)
Does he not suspect something?

THE HOLY PARAMORE: He is no more boring than book reports. Let’s get together at midnight, honeypie, someone might see us.

EMANUEL: You wanna go for a ride in our gondola, my bimbo!
.
THE HOLY PARAMORE:… Surfing dark waters, us being together.. my beefcake!

EMANUEL: There’ s a shortcut near purgatory river, bitch!

THE HOLY PARAMORE: I’m getting juiced up over the nude beaches, stud!

EMANUEL: Come to my arms, you, she-devil!
(They are kissing)