Ich habe dich nie je so geliebt, ma soeur
Als wie ich fortging von dir in jenem Abendrot.
Der Wald schluckte mich, der blaue Wald, ma soeur
Über dem immer schon die bleichen Gestirne im Westen standen.
Ich lachte kein klein wenig, gar nicht, ma soeur
Der ich spielend dunklem Schicksal entgegenging –
Während schon die Gesichter hinter mir
Langsam im Abend des blauen Walds verblaßten.
Alles war schön an diesem einzigen Abend, ma soeur
Nachher nie wieder und nie zuvor –
Freilich: mir blieben nur mehr die großen Vögel
Die abends im dunklen Himmel Hunger haben.
Ich habe dich nie je so geliebt by Bertold Brecht (Born on February 10th 1898)
‘”Surely you agree, Mr Architect, that buildings should have a base, a middle and a top?”
[The Architect replies]
“Yes, but not necessarily in that order”’
Bernard Tchumi, Architecture and Disjunction, 1996, 166
I have never believed in one single truth, whether it is mine or somebody else’s. I think that all schools and all theories can be useful in particular places and at given times. But I think that the only way to live is to passionately, and absolutely, commit ourselves to one point of view.
In any case, as time goes by, and as we change, objectives vary and the point of view moves around. When I think of essays I have written and the ideas which have come to life in numerous places, something strikes me: there is a certain continuity.
For a point of view to have any useful purpose, you have to be completely committed to it and defend it to the death. And this even when a little voice is murmuring inside you at the same time “hold on tightly, let go lightly.
Peter Brook, The Shifting Point
In the 1960s a second – much more severe and radical – exodus from the theatres set in. New performance venues were created in former factories, slaughterhouses, bunkers, street car depots, markt halls, shopping malls, fair centres, sports stadiums, on streets and subway platforms, in public parks and beer tents, on landfill sites, in auto garages and ruins, in cemeteries. Increasingly, preference was given to spaces that were not originally conceived as performance venues because they did not set any clear guidelines for the relationship between actors and spectators. These spaces constantly redefined performative relationships by refusing to allot a specific spatial segment to either group. In these spaces, performance itself regulated the relationship between actors and spectators and opened up possibilities for movement and perception. Performance generated spatiality.
Erika Fischer-Lichte, The transformative power of performance, p.109