The Enclosure, Metamorphosis (Magnification), Emergence and Transformation of She/Not I
T ( ) The enclosure, metamorphosis (magnification), emergence and transformation of She/Not I Catherine Linton MA Fine Art July 2013 For Sophie, 10 2 Abstract Humpty: When I use a word, it means just what I choose it to mean – neither more nor less.1 1 Robin Wilson, Lewis Carroll in Numberland: His Fantastical Mathematical Logical Life, London: Penguin Group, 2008, p. 2. 3 She/Not I 2 —more than I—3 Is to be found here, In signs, Out of shape:4 π ⏐ ✩ ϕ ∞ *** ℵ ⎯ Code to test —bend, stretch, grab, let go, throw up, catch, drop, kick to one side, go, pick up, or not— What it is to be, —face, And the rest— Seen. Framed in art (as life). [girls make art, front stage, take notes] Four parts, To get to a T.5 1) She’s there, 2) Gets more clear, 3) Finds out how it is, 4) Comes to be,6 Infinite? 7 A proof in 5500 words,8 Might send a soul mad.9 Text is split,10 ⎯ Word weight, ⏐ Rows, Thin, Sinks, Climbs, A ground. Falls, ⎯ ⏐11 In voice, Read both, Plays, Skip, Beats.12 [some count more] Be Isis.13 2 Samuel Beckett, The Complete Dramatic Works, London: Faber & Faber, 1986, ‘Not I’ pp. 374-383. Beckett’s Not I performed by Lisa Dwan—tutored in the role by Billie Whitelaw who originally performed the part at its 1973 premiere—is an intense monologue, set in a pitch-black space lit by a single beam of light. A disembodied female mouth floats eight feet above the stage and delivers a stream of consciousness, spoken, as Beckett directed, at the speed of thought.
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