Yoko Ono – “The Word of a Fabricator” – Critique of John Cage’s chance operations, advocates for ‘sounds by intention’
When I think of non-representation, Antonin Artaud immediately comes to mind. A short analysis by Jerzy Grotowsky Towards a Poor theatre follows.
Artaud started his quest towards theatricality after his encounter with the Balinese gamelan during the Paris International Colonial Exposition of 1931.
“the most alluring fictions of the ‘oriental theatre’ that have ever been written,” as Indian cultural critic and Orientalism watchdog Rustom Bharucha contends (Bharucha 1984:3)
words -for their sonority rather than their meaning
othering oriental theatre?
Similarities to Cage and his Zen-inspired poetics of indeterminacy. Cage and Rainer were active in the same circles and often interacted.
Yoko Ono?
Dandelions, by Yasunari Kawabata end with his Nobel Prize acceptance speech. It was striking to me that he chose to focus his speech on this relationship between orientalism and the West. He foregrounds how the two come with foundational different ways of thought and how borrowing forms between the two can lead to empty, shapeless results.
These thoughts are illustrative on my struggle with authenticity and what I consider performative authenticity.
References
Yamamura, M., Biesenbach, K., Cherix, C., Bryan-Wilson, J., Ono, Y., & Yoshimoto, M. (2015). [Review of Yoko Ono: One Woman Show, 1960-1971]. Woman’s Art Journal, 36(2), 43–45. https://www.jstor.org/stable/26430656