Disconnectedness only occurs in downtime, when you think: maybe I’ll go to the cinema. And then realise you’re don’t know what’s on and you’re not sure how to find out.
Today we met at V’s house in Prado. She was stuck at the doctor’s with her son, who was whisked off by an uncle as soon as she appeared, a few minutes late.
We began work on the last scene, very different to the others, if only in so far as no-one sits down. It’s driven far more by CG. Once more it was a painstaking trawl through the text, adjusting the odd line, such as ‘We helped her to steer’ or ‘It all clicked into place’.
Omar the designer, was due to arrive at 6, so we stopped shortly before to pause before reading Scene 2 for him. He appeared at ten to seven. V+F chatted, about everything, and in many ways this was harder work for me than the work. In part because the director is always on a tangent from the cast, and also because it made me realise that no matter how serviceable or effective my Spanish may be, it’s still got a way to go. In part connected to culture… the final linguistic boundary.
En tout cas, Omar arrived and we read Act 2, as a result of which I noted that F is in danger of going to far into his own head, especially in the first half of the scene. But the scene also has some shape, and ran 5 mins quicker than the other day. At the end Omar, who like me was sprawled on a beanbag, was sitting up, hopefully attentively, and said – que pelea de osos ! – which seemed an appropriate reaction. We talked design a bit. He hasn’t read the play, which Ana tells me is not unusual for ‘los tecnicos’.
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Omar gave me a lift home. He’s a self-made man, with his own advertising business. Ana told me he spends a lot of time travelling around South America on his Harley Davidson. He’s going to Cuba for a few days at the end of the month. In order to see a lover he meets twice a year in different parts of the world for no more than a few days at a time. She’s a 32 year old Chilean actress who works with Fuera Del Baus, as well as holding a senior position in the Chilean government’s culture ministry. Omar found a few words in English to describe her. He said she’s ‘very wild’.
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Have just finished, around 9.30pm, 2666.
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The TV shows images of selected disasters: Timothy
McVeigh; Earthquake in Japan; The Big One. I cannot
Gleam the connection between catastrophes, any more
Than I can understand which these images populate the
Bar Hispano television. Its pollution has no effect on
The families that surround me, in a portrait of contented
Latin domesticity. Son-in-laws joking with their partner’s
Parents, or a pair of kids bringing their Thermos in to top
Up with hot water for their maté. Now a man in a fedora
Talks about the Ark of the Covenant, and as though a
Code has been unravelled, everything clicks into place.
+++
Today we met at V’s house in Prado. She was stuck at the doctor’s with her son, who was whisked off by an uncle as soon as she appeared, a few minutes late.
We began work on the last scene, very different to the others, if only in so far as no-one sits down. It’s driven far more by CG. Once more it was a painstaking trawl through the text, adjusting the odd line, such as ‘We helped her to steer’ or ‘It all clicked into place’.
Omar the designer, was due to arrive at 6, so we stopped shortly before to pause before reading Scene 2 for him. He appeared at ten to seven. V+F chatted, about everything, and in many ways this was harder work for me than the work. In part because the director is always on a tangent from the cast, and also because it made me realise that no matter how serviceable or effective my Spanish may be, it’s still got a way to go. In part connected to culture… the final linguistic boundary.
En tout cas, Omar arrived and we read Act 2, as a result of which I noted that F is in danger of going to far into his own head, especially in the first half of the scene. But the scene also has some shape, and ran 5 mins quicker than the other day. At the end Omar, who like me was sprawled on a beanbag, was sitting up, hopefully attentively, and said – que pelea de osos ! – which seemed an appropriate reaction. We talked design a bit. He hasn’t read the play, which Ana tells me is not unusual for ‘los tecnicos’.
+++
Omar gave me a lift home. He’s a self-made man, with his own advertising business. Ana told me he spends a lot of time travelling around South America on his Harley Davidson. He’s going to Cuba for a few days at the end of the month. In order to see a lover he meets twice a year in different parts of the world for no more than a few days at a time. She’s a 32 year old Chilean actress who works with Fuera Del Baus, as well as holding a senior position in the Chilean government’s culture ministry. Omar found a few words in English to describe her. He said she’s ‘very wild’.
+++
Have just finished, around 9.30pm, 2666.
+++
The TV shows images of selected disasters: Timothy
McVeigh; Earthquake in Japan; The Big One. I cannot
Gleam the connection between catastrophes, any more
Than I can understand which these images populate the
Bar Hispano television. Its pollution has no effect on
The families that surround me, in a portrait of contented
Latin domesticity. Son-in-laws joking with their partner’s
Parents, or a pair of kids bringing their Thermos in to top
Up with hot water for their maté. Now a man in a fedora
Talks about the Ark of the Covenant, and as though a
Code has been unravelled, everything clicks into place.
+++
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