16 October 2008

did my hair look okay on monday night ?(batshieva max)

hey.my name is persia and i am one of the lucky kids who got to be a part of the childerens choice awards.YAY!
dose any one other than me (and tibby) know the song "the laughing gnome" by david bowie? well if you dont, look it up on youtube (or some other site)
i went op-shopping today ...it was fun and i got some pretty cool new clothes
shopping is only fun when its op shopping .
i neeed to go ...maybe ill have a cordial ?
la la la la la,
from the deepist pits of my arse - Persia
p.s you can call me P.b,got that?

I want a conversation!

Hi its Moses and i am bored. I feel like a conversation!

Pwitty Pwease?


Hey, I just noticed that the comments setting was such that only registered users could comment. I've changed that so that anyone can comment, even anonymously. Sorry for the restriction. Please comment.

Stationary red balls and kangaroo skewers

I’m a huge fan of public intervention performances (that are good), and so The Newsboys piece (a collaboration between London's The Lone Twins and Melbourne's The Suitcase Royale-who are also our famed paparazzi) holds a special place in my heart. I think we should embrace the banal more completely. I was riveted by the news of the stationary red ball.

Other tidbits:
Well, I ate kangaroo. Yep, that’s right. In a lovely peanut satay. I was scared given that the kangaroo, along with the koala and crocodile, for me at least and maybe a legion of others across the waters think of them as national treasures, untouchable by hand, or god forbid, fork, so, not only politically incorrect, but illegal. Boy was I wrong. Apparently, word on the street is that there has been a bit of an overrun of the bouncers, and so, they are a plenty on menus. I have yet to come across koala and crocodile on a menu. The former, I would venture to guess still holds the super cute category, while the latter, I presume, probably isn’t worth the number of ‘catchers’ it would take to actually get it on the menu.

Two-faced Bastard: I love you transformer

Chunky Move’s Two-faced Bastard was one of my favourites, although maybe I’m not supposed to say. Upon entering you have to choose to enter the theatre space to the left or right, which then dictates what side of the show you’re on. The audience is split in two, facing each other, with the performance happening between, but then also split, so at any given time, one side of the audience is only able to see half of the performance. I started out on the left side with the other ‘lefties’ in the group, which was supposed to be the ‘backstage’ area where there was an interview going on between the performers about the act of creating art, the time, energy, devotion, and life that goes into a production, questioning what the audience brings to the equation, and if it is ever equal. A well considered discussion that anyone producing art questions at one time or another, and bringing the audience into it worked. I LOVED that I couldn’t see what was happening on the other side of the curtain. And, I don’t feel cheated in any way that the performance ‘wasn’t dance’, as some of the complaints have been. It absolutely was, the choreography was amazing, in particular, the two dancers speaking/dancing in unison as one and the transformer robot sequences. I should also note that the sound effects/speaking by the dancers was choreographed as if it was another dancer—integral to the piece and expanded the dance further. The movements were at the same time, fluid, graceful, staccato, precise, both feminine and masculine, sexy and absolutely hilarious. And I didn’t even see the kissing part or the final battle scene. I did change sides because the girls were all standing up, bags in hand before the actor was even finished outlining that we could switch sides. And so we went over. I would love to see the piece again, not because I feel cheated and the other sides were better, but because I would love to see the entire piece and how it all fits together. But, then I don’t know if that’s really cheating or not.

An Oak Tree and Patti Smith

We saw An Oak Tree by Tim Crouch, a two-person performance with Tim and, I found out after the piece, a well-known Australian actor whose name I unfortunately can’t remember right now. Sorry. In any case, throughout watching the piece it became very clear that the actor was accomplished, and was not simply a random audience member who had been brought on stage (which was my misunderstanding). And so, although I really liked the on-stage direction, reading lines from the script, and the fact that the piece is new to the second actor and would thus push their abilities, I must admit that after lengthy consideration I still don’t understand what that brings to the narrative. (Apparently Geoffrey Rush was the night before, and I have to say, that would have been quite a treat. And maybe it requires seeing it in several incarnations with numerous actors that gives it its true weight.)

And speaking of stars, we had the good fortune and rare opportunity to meet Patti Smith. The kids saw her show, fairly detailed already on the blog, so I won’t describe it here. She was unbelievably generous with her time, comments, and considerations of stardom, death, longing, working hard and never giving up, and humility.

Desert Islands

The perhaps unexpected link (for me) between most of the shows we’ve seen so far is their direct engagement with the audience and their open questioning of the audience’s interest in the work. Wendy in Desert Island Dances goes through an entire scene replaying (to herself) a video of the audience ‘filmed’ over the course of the first section. She then graphs out, with much self-deprecation, the highs and lows of the piece thus far. High point when she enters the stage. Low point when she starts dancing. High point again when she does a few super moves. Higher still when she gets into the box. Low point when she starts drawing with chalk, etc. etc. At the end of her graphing, we are left with the craziest of horizons to her desert island.

How to Make Chocolate Trophies

tool and ingrediants:

old trophies from thrift shop
electric frying pan
large pot
stir spoo
coffee mug
cheese grater
baking chocolate
paraffin wax
craft supplies: glue, glitter, ribbons, pipe cleaners and random bits of candy.

- grate the wax with the cheese grater

- put the water in the electric frying pan and turn it on.

- put the pot in the water and dump a bunch of chocolate into it.

- put a bunch of wax into the chocolate (wax is used so that the chocolate doesn't melt when you hold the statues)

- stir it around until it is all melted.

- keep an eye on the consistency, adding more chocolate or more wax as needed. too much wax will make it runny.

- if the pot is deep enough, dip the trophies, or use the coffee mug to scoop up the mixture and pour it over the trophies.

- allow trophies to dry

- decorate with craft supplies.

- give it to your favourite show.