By William Fetterman
Publish 12 months note: First released August 1st 1996
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The experimental composer John Cage (1912-1992) is better identified for his works in percussion, ready piano, and digital song, yet he's additionally said to be some of the most major figures in twentieth century theatre. In Cage's paintings in theatre composition there's a blurring of the differences among song, dance, literature, paintings and way of life. right here, William Fetterman examines nearly all of these compositions through Cage that are audial in addition to visible in content material, starting together with his first paintings during this style in 1952, and carrying on with via 1992.
Much of the knowledge during this examine comes from formerly undocumented fabric chanced on one of the unpublished ratings and notes of Cage and his widespread collaborator David Tudor, in addition to author's interviews with Cage and with members heavily linked to his paintings, together with David Tudor, Merce Cunningham, Bonnie poultry, Mary Caroline Richards, and Ellsworth Snyder.
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Extra resources for John Cage's Theatre Pieces
Example text
B ut I'm thi nking of my d aughter . (She stands-for a bell has buzzed-and goes to a curious piece offurniture at the left, a kind of switchboard with a view-finder and earphone. While talking, she looks into the view-finder, after pushing down a switch) : ,Every time I ask you a slightly intimate questi o n , you shut up li ke a clam, IRMA and you throw your d aughter up t o me. Are you still set on going to see her? Don't be' a fool. Between this place and the nursery in the country there's fire and water, rebellion and bullets.
Very gently) Do you think I'm capable of it? IRMA (in a panting whisper) : Yes, darling. THE CHIEF OF POLICE : All right, add up the accounts for me you like, you can deduct Apollo's crepe de Chine. And hurry up. I've got to get back to my post. For the time . If being, I have to act. Mterwards . . Afterwards, things'll in my place. Well, what about Arthur? IRMA (s ubmissively) : He'll be dead this evening. THE CHIEF OF POLICE : Dead? You mean . . really . . really run themselves. My name wil act dead?
F o r the moment, you've abs o l u te l y got to go to meet G eo rge . . ARTHUR (with insolent irony) : I b e g your pardon, my beloved? IRMA (curtly) : To go to meet Mr. G e o rge . To P o li ce H e ad qua rter s , if nece s s a ry , and to let him know that I ' m relying o nly on IRMA him. (slightly uneasy) : You're kidding, I h ope? . IRMA (with sudden sternness) : The tone of my last remark should a n sw e r your question. I'm no longer playing. Or, if you like, not the same r ole . And there's no l on ger any need for you to play the mean, soft·hearted pimp.