Monday, July 27, 2009


A Special Performance for Statues

Solitary statues are introduced into the orchestra, while groups of statues are in the boxes. Someone remembers that bigger statues may not obstruct the sight of the smaller ones. Very small statues are permitted only in the suite of the non-figurative compositions.

In the first act, there’s nothing on the stage. The statues don’t like much movement and racket. Vibrations damage their crystalline structures.

In the second act, a black-rock quarry is opened onstage. The rock is torn off the walls and shaped by hammers and chisels. When the shape is born, a pyrotechnist comes along and skillfully places the charges and sets them off. The statues don’t like repetitions of their likeness. The statues don’t like themselves at all, essentially.

In the third act, a big flock of seagulls is onstage. The birds are spooked by the haze coming from a symphony orchestra down in the trap, and they fly around and into the audience, settling on the statues’ heads. There they do the natural things they usually do. The whole scene is irresistible fun. The statues applaud with a minute of silence.

After the performance, the theater is changed into a museum.

Therefore, theaters disappear.

But in the review, Venus of Milo praises the art of using gestures onstage and Nike of Samothrace expresses her satisfaction that the value of the human head is on the rise.



Post a Comment

Subscribe to Post Comments [Atom]

<< Home