かいきげっしょく (Tokyo, 23:48; 10/12/2011)
…Scenes of crime, which Ellroy’s characters meander through. An American Noir-landscapes askew with ‘bad drugs and bad women’ and one which Deckard escapes running from the Yukon Hotel to The Snake Pit, the play begins to coruscate through scene after scene, ever-uncovering the scene of it’s characters, creation and subsequent crimes both past and future. Perhaps what we are witnessing is a crime-scene uncovered, unwrapped and unveiled with all the murderous intent of a crime thriller or dystopian future – although Deckard’s predicament is no dystopia, it’s a matter of love and no more – for it strikes me that with all the spectacular devices employed, and they are truly spectacular, the real motivation or guiding light seems to be the uncovering of a regency detective novel, not a “Who-dunnit” but a “Who-am-I”.
The effect of being burnt alive then frozen cold, as the stage ceiling throbs, is maybe a dilemma Shelly’s characters continually experience. That, wherever her engineered story take us and whatever avenues it alludes to, the problem of bifurcation is always dilution. As Frankenstein realizes, just as with modern methods for producing energy, the energy needed and required for bifurcation to be as affective and inspired afterwards is always greater and in part unobtainable. “The light that burns twice as bright lasts half as long”, Tyrell’s tender advice given to his own prodigal son, who’s 4 year life span is the consequence of an engineered super-human strength which only results in premature expiration. What is impatiently referred to as his ‘incept date’.
Franken-Yohji (2012)
Tennozu Isle at the studio of Watanabe-san.
Same building as Yohji’s studio ですよ。 Entrance is a vehicle lift!
I spent 2 hours sniffing a banana-visor.
Betty is a great photographer / link
