My Barbarian

Part 1

[27:35]

(Percussive music)
As we look about us
Things seem worse than ever
Try not to dwell on the now 

I remember Gomorrah. A hotter clime, a hotter time was had by all in Gomorrah. 

[26:42]

In Gomorrah I was given the gift of a golden goat. Why can't we go back? Go back, go back.

(Rock music)

Gomorrah, Xanadu, Babylon, Atlantis
Gomorrah, Xanadu, Babylon, Atlantis
Gomorrah, Xanadu, Babylon, Atlantis
Gomorrah, Xanadu, Babylon, Atlantis
Gomorrah
Xanadu
Babylon
Atlantis
Gomorrah
Xanadu
Babylon
Atlantis 

[25:35]

You were too beautiful to live
You were too beautiful to live
In Gomorrah I was given the gift of a golden goat
I took the golden goat, I slit it's golden throat
Gomorrah, golden goat
In Xanadu I learned to do the secret sacred dance
I played the Pleasure Dome, I played in Kubla’s home
Xanadu
Do a dance
In Babylon I lost the true love baby of my heart
I broke a beating heart 

[24:36]

I shattered it like art
Babylon
Baby heart
Atlantis, in this scene I start to swim
I swim an ocean race
I swim in sunken space
Atlantis, is the place
Gomorrah, Xanadu, Babylon, Atlantis
Pompeii, Nineveh, Carthage, Galveston
Ctesiphon, Chaco, Troy, Kumari Kandam
Ys, Koumbi Saleh, Mologa, Dresden
ncomah, Aztlan, Dwarka, Helike
Thérouanne, Tikal, London, Herculaneum
Chicago, Tenochtitlan, Dunwich, Kitezh
Sodom, San Francisco, Rungholt, Hiroshima
Newark, Jericho, Nepata, Vilcabamba
Ulundi, Stalingrad, New Orleans, Eden 

(Gentle music)

[23:24]

- Action.

Cassandra: I am Cassandra, princess of Troy, historically represented as a mad, crazy woman tormented by visions of death and destruction. I can look into the future and see everything that's going to happen. I cannot change the coming events, for no one will listen to me. I represent environmentalists and others whose warnings go unheeded. 

[22:37]

Lo, it is my mother Hecuba and my brother's girlfriend, Helen of Sparta. In the future, in the future, in the future, people will still be named Cassandra like me and Helen like her, but not Hecuba.

Chorus: The feminist reader will decide that the female roles have nothing to do with women. The feminist reader might conclude that women need not relate to these roles or even identify with them.

(Gentle music)

Tell us of the future
Tell us what you see 

[21:37]

Tell us what will happen
Will it affect me
Tell us what the future
Tell us what you see
Tell us what will 

(Piano music)

Sun God: Shakuntala Dubois, you must find your job. And I, the Mighty Sun, who is God of Light and Formal Education and Careers, Spirit of Scheduling, I command you, set yourself to that Purpose, for the Mighty Sun is your boss.

[20:30]

Brunhilde: So I figured it out, and it's like a 10th of my income goes to my hair.

(Birds chirp)

Shakuntala: That is much.

Mahabharata: Your hair is so cute though.

Brunhilde: How many hours of labor do I pay per follicle per year?

Mahabharata: But you don't do labor.

Shakuntala: Mm mm. This tea is good.

Mahabharata: Mm.

Brunhilde: I go to work for a living is what I'm saying.

Mahabharata: That is so wrong.

Shakuntala: Seems like a waste of money to spend on hair, which grows so freely.

Brunhilde: I do it for me.

[19:34]

Mahabharata: Hm.

Shakuntala: Mm mm. Hm, hm, hm.

Mahabharata: You can spend your money however you want, she can spend her money however she wants, he can spend his money however he wants, they can spend their money however they want, that can spend its money however it wants.

Brunhilde: That is so great. Oh my God. Are you saying you don't like my hair?

Shakuntala: I love your haircut, that's not the point. The point is, you know how you want your hair done, do it yourself. Do your hair yourself. What kind of tea is this?

Mahabharata: I don't agree with that Shakuntala.

Shakuntala: Mm. Mm hm.

Brunhilde: I don't agree with that either Shakuntala. I agree with Mahabharata.

[18:38]

Shakuntala: You always agree with her, Brunhilde.

Mercutio: This land is beautiful for the five reasons. The first is this tree stump. It leads the eye to this clump of leaves.

Persal: I see.

Mercutio: What is the second reason this land is beautiful?

Persal: The sky?

Mercutio: That is the fifth reason. The second reason is this patch of dirt. It is warm in color.

(Bird chirps)

[17:39]

The third reason is this insect on this twig. So fragile, yet so terrifying. The fourth reason is that the land is fully rendered in perspective with a vanishing point over there. The fifth reason is...

Persal: The sky. I love the sky. One could imagine being anywhere within it or beyond it even as one is seemingly beneath it. Do the gods live up there, or is my future self in the sky? Do you know Mercutio Iglesias?

Mercutio: I wouldn't know Mr. Purcell Sam Shepherd.

(Gentle music)

[16:31]

Narrators: The hearts of the bondsmaids who share the same suffering and hatred as Ching-hua burn like fire. They are torn by anxiety for her. If only they could save their class sister. The bondsmaids dance. The Civil Guards drive them away. Chung-hua refuses to yield. She continues to fight courageously. She continues to fight courageously.

(Harpsichord music)

Purcell: I knew I'd discover you.

Shakuntala: You did not discover me. I have always been here.

Purcell: Marry me and let me take you back to my country where you will be a very well paid consultant.

[15:35]

Shakuntala: I don't fit in well with business types.

Purcell: You'll love these guys. They're rich.

Shakuntala: I'm sick of rich people.

Purcell: Come back to my hotel.

Shakuntala: What's your name?

Purcell: Hm.

Shakuntala: Hm. Mm mm. Mm mm.

Shakuntala: Uh huh .Uh huh. The sky clears.

Narrator: Red Army Cadre Hung Chang Ching and his messenger Pang enter disguised as peasants. 

(Piano music)

They are on a scouting mission. 

[14:29]

Hung and Pang discover the fainted Ching-Hua.

(Renaissance music)

Evita: Servility, don't just toss things everywhere. Now, where was I? Oh yes my dear, I cannot possibly believe you would do such a thing.

Shakuntala: I am a grown woman and Daddy's gone now. We're all free.

Evita: To get engaged to a tourist who stumbles in the yard! We don't even know what kind of people he comes from, if any.

Shakuntala: I looked into his eyes and I saw that he is really special.

Orfeo: I can totally identify with what you're saying.

Evita: Shakuntala, I swear you are just too sensitive.

[13:37]

It's charming in a child, but a woman must have Boundaries and Attitudes.

Shakuntala: I'm going to marry Purcell, Mama, and you can't… And you… God. Get out of my way.

(Harp music)

I, object
You incorporate bodies, monies
I, object
You don't own me even though you bought me 

[12:32]

You want to return me
But you don't own me, you don't own me
Even though you bought me
I, object
On table or pedestal
You want to show me off
Even though it was you
who lost the receipt
I… Object 

[11:34]

You incorporate
Bodies, monies
I,object
I, object 

(People chatter)

(Electronic music)

My oracular vernacular
Maybe, maybe, if and when
Address the future imaginary
Speculation undoes the the present 

[10:36]

Contemplation becomes the object
Immaterial, profound 

Saint Galadriel: Eros vita lumen. On pale afternoons, quiet clouds go by in the blue. Conscious minds alight on fervent hands. Oh, the gold dust that floats in the air behind which are the vibrant waves, tender humid eyes, mouths overcome with laughter, curly hair, and the rosy fingers that caress each other. On pale afternoons, a friendly Faerie tells me secret stories. I began to feel a yearning for, the longing to satisfy an infinite thirst. I said to the amorous Faerie, "I want to feel in my soul, the deepest, the most profou–"

(Piano music)

[9:32]

Dido: But death alas, I cannot shun. Death must come when he is gone. Thy hand, Belinda. Darkness shades me. On thy bosom let me rest. More I would, but death invades me. Death is now a welcome guest. When I am laid in earth, may my wrongs create no trouble in thy breast. Remember me, but ah! Forget my fate.

[8:30]

Workers: And so you will see it again and again, gladly or ungladly. Gladly or ungladly.

(Sung)

Moon Goddess:
Mama, my baby, Mama, my baby
Mama mama
Ba-ba-ba-by
Mama mama
Ba-ba-ba-by
Ma ma ma
Moon 

(Upbeat music)

[7:30]-

You see a troupe of Troubadours
A strolling band of nightingales
Ply their trade from door to door
Courtly love for sale
Courtly love for sale
Courtly love for sale
Medieval is our morality
Moral ist Mittelalterlich,
Ho, ho, ho, ho, ho
Medieval is our morality
Moral ist Mittelalterlich
Ho, ho, ho, ho, ho
Medieval is our morality
Moral ist Mittelalterlich
Ho, ho, ho, ho, ho
Medieval is our morality
Moral ist Mittelalterlich
Ho, ho, ho, ho, ho
Medieval is our morality
Moral ist Mittelalterlich  
Ho, ho, ho, ho, ho 

[6:34]

Medieval is our morality
Moral ist Mittelalterlich
Ho, ho, ho, ho, ho
Ho, ho, ho, ho, ho 

Performer: We now present for ye a parable which effects ye for this, the story of Everyman. A play of morals and moral concerns, especially those pertaining the freelance artist. And so begin we do on the right, in heaven.

God: I am God.

Good Deeds: And I am Good Deeds, servant and messenger of God.

God: Look ye now my servant at Everyman going about his way.

Everyman:
(Sung)
I, my name is Everyman 

[5:34]

Heaven is to my right hand
Earth in the middle, that's the plan
And left of center is hell's hot land
I, my name is Everyman
Would I were the son of God.
I am not privy to my Lord's plan
I worship him, though I find it odd. 

- Everyman speaketh in a most ambivalent manner.

[4:35]

- He is nuanced, true.

Everyman: I am so poor. Mayhap I needst a new career path.

- Once again, Everyman is vulnerable. I shall take the form of a patroness of the arts. Eine Schutzherrin der Künste. I am a learned lady, a richly attired woman of profound boredom.

Everyman: I am an overeducated person of some talents and few prospects. 

- Hm, mayhap ye couldst illuminate a text for me?

(Sung)
At Golgotha Three Marys stood
Three grave women in the shadow of the cross
At Golgotha Three Marys wept.
Three sad women in the
Meadow of great loss
Mary the mother lifted her head
Mournful as the wind she said 

“I gave birth to you, though a virgin I remained
Pleasure never mine, though quite pregnant I became 

[3:37]

Was it really worth the excruciating pain
I'll never understand why God played tricks upon my brain.” 

At Golgotha Three Marys stood
Three grave women in the shadow of the cross
At Golgotha Three Marys wept
Three sad women in the meadow of great loss
Mary, Martha's sister, not well known
Talking to herself 'cause she was all alone 

“I was such a convert that
I followed you around
Devout as an apostle
A Christian pound for pound
Know I'm not the fairest Mary in this town
A crush on you I had
And yet you always turned me down” 

At Golgotha Three Marys stood
Three grave women in the shadow of the cross
At Golgotha Three Marys wept
Three sad women in the meadow of great loss
Mary Magdalene, wrong gone right
Cried through the ever gloomy night 

“Jesus, this must end our scandalous affair 

[2:35]

Remember when I washed your feet
With tears and golden hair
I soothed you with my ointments sweet
In skimpy underwear
And played with little Jesus
Till he grew up way down there” 

Everyman: Look at this bill from the church. I must again find work, else the church send the bill collectors to throw me in the debtors’ gaol.

- Just think, in your dungeon cell, you will be free to pray all
day long with no interruptions. ‘Tis like a residency program.

Devil:  Look upon the true face of God.

Everyman: The devil!

Good Deeds: What hath ye done with God, foul pestilence?

Devil: Taketh not that tone with me, for I am God and the Devil. 

[1:45]

And now I command the hell mouth to open.

(Rock music)
Flung down
An abysmal pit
Might as well try to
make the most of it
This is hell
It ain't so hot
So this is hell
It's all you got
When you’re in hell
Ignore the smell
When you're in hell 

[00:00:36]

Say it's swell
Just say it's swell
Swell in hell 

- And so ends the story of Everyman, the story of you. Let this serve as a warning to ye, for if ye take the path of the artist, Dann wirst du für alle Ewigkeit in der Hölle brennen.

[00:00:00]

End of part 1.

Part 2

[29:12]

Cop: I had an uncle who used to be a cop. One day they caught him selling cigarettes on the black market, right after the war, and he had to leave the force. And every time he got drunk, he'd start sobbing because he couldn't be a cop anymore and being a cop was something special. Then he got sick and I became a cop.

- I already tried professional training. I'm not cut out for work, I use people instead. It got started with one who hadn't had it in a long time. Everybody's so grateful it's impossible to say anything bad about it.

- It took a long time for me to admit to myself that I like men better than women. I

[28:13]

t's frightening, if you've had a normal upbringing. I thought I'd have to live underground, bus depots, toilets. But as a matter of fact, it's completely different. My boyfriend is a dancer from Guinea and we live like man and wife, we visit friends, have fun, all perfectly regular.

- Look into my eyes. Age isn't a problem. Older wearier flesh can respond passionately. You will come to know your own skin through my touch.

- You got some ID? Shit, people who don't have ID, they don't exist.

Butcher: Now. Every Friday night, I buy myself a girl. Now I'm the butcher, and I got a kid working for me who gets hit when he deserves it.

[27:12]

- I lived with a group of women for quite a while, it was a commune, sort of. We tried to work out where the oppression of women in our society originates. We wanted to know why marriage is so much more deeply embedded in women's consciousness than in men's, stuff like that. We had decided to treat men exactly the way that we thought that they treated us. Of course, that's repressive.

- There are books, You should read them, where women become complete females. Blindfolded, or chained and tied up, for women, happiness is submission.

- I have a great deal of contact with men in my profession, and I sleep with a lot of them. 

[26:15]

It's not a problem for me, it's like drinking a cup of coffee. I lie in bed and fondle myself. There's never been anyone who could do it just the right way.

- Hey, you know, you are real hot.

Lover: Your mother is a bitch.

(Eerie music)

Cop: What did you say?

Lover: Nothing. Ow.

Cop: My mother don't belong anywhere in your mouth.

(Chime dinging)

Teacher:You're going to die.

Model: How do you know?

Teacher: There's death in your eyes.

Model: You are rotten.

Teacher: First you'll feel a little sick.

Model: Oh.

Teacher: Then you'll sense, something's wrong. 

(Model gasps)

[25:12]

Then, fear will set in.

Model: Stop it. Stop it.

(Chime dinging)

(Bell dinging)

(Rapid knocking)

Mistress: You may kiss my feet, you dog.

Butcher: Woof woof.

Mistress: That's a good little puppy. 

Butcher: Ow ow ooooooh!

Mistress: Get off you mangy shit, you stink.

Butcher: Please don't tell me I stink.

(Church bells ringing)

Model: My husband doesn't know anything about me. We never talk.

Cop: Cigarette? I think you're beautiful.

Model: Oh, I like to hear that.

Cop: I mean this very seriously.

[24:13]

Model: I'd like to sleep with you.

(Slow pan-flute music)

Lover: We can't handle a kid.

Wife: But a child will stick by you.

Lover: Every moment I spend with you is one moment too many.

Wife: Karl?

(Slow eerie music)

Teacher: How much do you make a day?

Lover: 100, 200.

Teacher: You're very attractive.

Lover: I know.

Teacher: Well la-di-da.

Lover: I'm sorry?

Teacher: Don't you like it?

Lover: What? With men?

Teacher: Yes.

Lover: I don't want to get involved in too much.

Teacher: Why not?

Lover:  I'm afraid.

(Ethereal flute music)

[23:11]

Wife: How do you get a figure like that?

Model: I take care of myself.

Wife: Me, I have to work.

Model: I'm sorry, but I work too.

Wife: Things turned out better for you.

Butcher: 12,000 marks.

Lover: 12,000 marks? That's crazy.

Butcher: Seeing as it upsets you so much, I'm gonna have to insist
on prompt repayment.

(Experimental jazz music)

Model: By the way, I fired the maid.

Lover: But we worked out an arrangement for this marriage, you and I.

[22:15]

Model: I couldn't stand the freedom!

(Sung)
It is through
The conceptual faculty
That all good standing
Usually finds expression
And thus is it
Differentiated from
The faculty of judgment and deduction
As the faculty of formal reason
For judgment and deduction or reason
Are in the formal sense
Only aspects of what's understood 

[21:16]

In that they appear as forms
Of abstract
Conceptual
Analysis
A concept is not
However determined
Determined in a purely abstract manner
Understanding
Understanding
Needs to be
Needs to be
Differentiated from
Differentiated from
Reason
Reason
Therefore, in the
comprehension of concepts
As a whole 

(Mellow jazz music)

[19:36]

- Jazz, the Double Agency needs you to curate an exhibition for the museum.

- The show is called Masks of the World. It's an interface designed to reinforce ludic capitalism.

- Double Agency can't be compromised.

Tour Guide:  And here we have a prime example of European culture. Something which you as non-Europeans may not be so familiar with. A depiction of plenitude. European beauty—

(Bones crunching)

—increases as it moves towards the lightness on the spectrum of values. Therefore, this image is beautiful regardless of what it depicts

(flesh thudding)

Because it is bright and you can see it.

Lorelei: Franka Petersen.

Franka: Why, yes.

(Flesh thudding)

[18:39]

- This way.

(Fists crunching)

(Body thudding)

(Electronic beeping)

(Electronic machinery whirring)

(Phone dialing)

(Phone ringing)

(Electronic interference)

[17:58]

- The new plans will impact all areas.

(Machinery whirring)

(Electronic interference)

(Body thudding)

- Masks of the World. A touchy subject? Not really. Playing it safe, not pushing boundaries. Universal truths. Money. 

(Glasses clinking)

[17:12]

We are all the same. Language. And, I brought a mask with me today.

(Gas hissing)

(Coughing)

- Pure propaganda, Miss Petersen.

(Glasses clinking)

- Maybe so, but isn't everything?

- I'll make sure your Masks of the World exhibition never mounts!

[16:21]

- Maybe, but I doubt it.

(Intense dramatic music)
Welcome to all the people
We are the Board of Supervisors
Of all the places
This museum is the one
That 50 years ago today 

(Distant screaming)

Was established
Using distinction
And buildings
We were so moved
When a professor spoke at the museum
She asked are the
objects really so dead
Are the people really so alive
No one knows
Masks of the World
Is anyone here from cultural affairs 

[15:10]

Like the angels
Who lived in the city before us
I believe in truth
And community partnerships
It is my honor
To introduce the mayor
Mayor Jessica
Montez 

(Uptempo rock music)

Thank you thank you thank you thank you Victor
I have lived in or near this city all of my life
I was a kid when I first came here
The pictures on the wall of naked people
White women with long blond hair
And muscle guys with tiny- You know what I mean

[14:12]

Or it was a bunch of blobs of paint
Or a TV playing something you would not give
Five minutes to at home
But you're tired
So you sit in front of it for six minutes
And then the bookstore
And I realized
Culture isn't something you can control
Culture is something you support
Whether you like it or not
Because you are it
And that is why I'm so excited, wow
By this exhibit
Masks of the World
Faces of people
Coming together
Being on a wall
So thank you thank you
thank you thank you, Victor
And thank you so much, Los Angeles
I am your mayor
Jessica Montez 

(Intense drum music)

[13:14]

Thank you Mayor
Now it's my honor to introduce to you
Ms. Franka Peterson,
The curator of Masks of the World 

(Slow ethereal music)
I chose these masks
You see on display
From the collection
Tucked away
Faces in boxes
Never seeing the light
Hiding, hidden
Kept out of sight
Are they from theater,
Ritual,
Art 

[12:13]

What is a bodiless mask
With no heart
This exhibition would not be
Without the support of two very key
Individuals whose generosity
Has graced us institutionally
First, Yusef Ben Salem
Cultural attache to the Sultan of Brunisia
And Arnold St. Petersburg
Gas extraction magnate from Eastern Rusvar
Thank you both
In my home land
Of Brunisia
We have many reasons to believe
That art is something you must fear
Because it has power
So much power 

[11:14]

You feel it emanate
From the surface like electricity
It is shocking
In my homeland of Brunisia
We suffer much at the hands of brutality
Imposed upon us by outside forces
In the form of political influence
And we blame you
People of the West
But art brings us together
Hey
In Eastern Rusvar we have a joke
But I will not tell it to you
You don't get my jokes
And that is the joke
Which is funny because it is true 

[10:12]

Much like art, yes, it is like that
Funny because it is true
Look at the faces on the wall
Staring
They do not know what
They are talking about
I gave money
To go to parties
And everyone is so nice
Even though I know
They don't get my jokes
I am Lorelei Montoya
AKA The Eye
I am Convener of the Ninja Symposium
I know the reason for this exhibition 

[9:13]

To unleash neo-liberal propaganda
On the world
This world that is no longer a world
This world that is a marketplace of ideas
About the world
Ideas with no concept behind them
To be a ninja is to be an idea
Even if no one in the world can see you 

(Horns blowing frantically)

(Cymbals crashing)

[8:32]

Narrator: There's this story about the ground squirrels in Angeles Crest National Forest. Every so often a bunch of them are found dead, and we here in the park take notice of the die-offs. The squirrels are disease vectors, the fleas on the squirrels carry the bacterium Yersinia pestis, the black plague.

(Bright harp music)

We are the squirrels
Of the forest
We are carriers of bubonic plague
You are the people
Of the city
Heed our warning, dire
Why do you tempt fate?
Homeless coyotes eat pets in Glendale
Deer on the 210 have no place to stay
Just as the forest grows smaller and smaller
So too the city collapses from its weight
So too the city collapses from its weight 

[7:09]

We are the squirrels
of the forest 

Narrator: As an independent biologist, not associated with any university, but as a webmaster of a popular website, I've been documenting the activities of a particular group of squirrels. I've tracked them all the way from Angeles Crest Forest to Hollywood, to city hall in downtown LA. At city hall, they had a rally.

Squirrel: If action is not taken

(Sung)
We'll be gone
Notify the city
Notify the council
Tell Mayor Hahn
We'll be gone
Anticipate the future
Feature of your landscape
Formulate escape plans 

[6:13]

We'll be gone
Councilman Reyes
Councilwoman Greuel
Councilman Zine
Councilman LaBonge
We'll be gone
Councilman Weiss
Councilman Cardenas
Councilman Padilla
Councilman Parks 

Councilwoman Perry
Councilman Ludlow
Councilwoman Miscikowski
Councilman Smith
Councilman Garcetti
Councilman Villaraigosa
Councilwoman Hahn
Assert your bureaucracy
Tell the communities
Call our neighbor cities
We'll be gone 

LA Police Officer: Who has a permit for being here? Do you have a permit? 

[5:14]

If you don't, you need to leave.

- They can't finish singing their song for just, like, ten seconds?

LA Police Officer: No no, you can't be doing that. You can't be filming. You all have to be on the side there, you guys can't be right here.

- Okay—

- Okay.

(Rhythmic drumming)

P-o-L-A-A-T
PoLAAT, PoLAAT
PoLAAT, PoLAAT, PoLAAT, PoLAAT, PoLAAT
PoLAAT, PoLAAT, PoLAAT, PoLAAT, PoLAAT
Post-Living Ante-Action Theater
Post-Living Ante-Action Theater

- Star.

- Star.

- You are touching your pinky toes, let's not make it a big production. 

(Audience laughs)

Open this up, please. There's a lot of, like, discomfort, tension, I just want you to like-

- Aah! That's right, good good.

[4:13]

- Feel the weight of your bodies.

- If you notice any tension in your jaw try and keep it there.

(Sung)
Why don't you give me something helpful I can work with
Instead of talking shit and making mean expressions 

- Just feel the weight of the floor, pressing into the fat of your ass.

(Audience laughs)

If any kind of, like, spread, just feel a little self-conscious about it.

All: Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs. Suspension of beliefs.

- If there's any kind of discomfort I want you to note it and then I want you to exaggerate that.

[3:10]

- Go ahead and clench your fists, almost like you're hiding something that's gonna be taken away from you. “Oh God. This is my last thing. I lose this, I lose everything.”

- Make sure that your fingernails are digging into the palm of your hand.

(Sung)
El deber participar sí sí  
El deber participar sí sí
El deber participar sí sí  

- If you notice any part of your body relaxing onto the floor, go ahead and change that.

(Audience laughs)

I need you to start hovering, start hovering. Larissa, hover. Yes, that's better. Hold that for a little
while, til it hits your—

(Jasmine screams)

(Audience laughs)

[2:14]

(Sung)
Don't tear me down
And I won't make you feel bad
To make myself feel good
I'll give you something you can use
To make improvements
Help me grow
And I'll return the favor
Face me critically but full of positivity 

(Audience laughs)

- Dos, tres, quatro, uno, dos, tres, quatro, uno, dos, tres

- Now I want you to visualize.

- Amber!

- Your sixth chakra, okay?

- Sixth chakra!

[1:13]

- And I want you to visualize—

- Malik, sixth!

- A very dirty hypodermic needle sticking directly into your third eye.

(Folksy guitar music)
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body
Draw a perforated line around your body 

[00:00:18]

Draw a perforated line around your body 

[00:00:00]

End of part 2.

Part 3

(Mysterious music)

[33:59]

- This wine is good. I'm so glad you're here, did you find a babysitter?

- I had to get a sitter, and that's no easy task with my kids. I hate my kids. (Laugh) You'll hate your kids too.

- Since when do you hate your kids? I thought you loved your kids.

- Well, eight more years and they're out of the house, but—

- Uh, I totally understand, puberty's gross.

- Yeah.

- Look, you look great. If that's any consolation, you look absolutely fantastic. And you're doing so well at work!

- Cheers to me!

- You're one of three women that work at Bissell, Bissell and Mortimer.

- It's okay. I'm a single mom, I'm a working mom. I'm good at my job. I'm a copy editor.

- I know.

- You are really good with computers. It's the key to the future. You know computers, you're not going to get laid off.

- You are amazing at computer graphics and these days, really everything needs graphics.

- Well, you know, I'm learning.

(Loud knocking)

- Did you hear that at the door?

- Who is it? Who is at the door?

- Oh.

- Who is it?

- Well, I'll get it. 

[33:07]

You sit down because you made a great dinner. I'll get the door.

- All right.

- Oh, oh my gosh. It's Mr. Bissell. Did you invite Bissell?

- Why is your boss here?

- Well, I don't know why he's here.

- Why is he here? I'm freaking out.

- Okay, look, you look great.

- Oh my God, do I look okay?

- How do I look? I think I'm okay, I'm just a little drunk.

- Take a deep breath.

- Just a little drunk. Well, whatever. He's seen me drunk before at the office parties, okay.

- Okay, I'm gonna open it. Open it.

(Both inhale deeply)

- Let's just open the door.

(Door creaks open)

Mr. Bissell: You're fired.

(Animals screech and roar)

TV Announcer: You are having a Night Epi$ode.

Moderator: So now I would like to introduce our esteemed panelists. First is nightmare curator Stel, internationally feared and hated for her work on blockbuster exhibitions that have destroyed every institution and artist she has ever worked with. 

(Audience laughs) 

[32:07]

Blind curator Omez is resident alien at the University of Darkness, and is admired for his deeply flawed theoretical writings, including his recently published book "The Title is Unpronounceable". 

(Audience laughs) 

And lastly, Garnic is HP Lovecraft curator of inter-dimensional practices at the Arkham Asylum for the Criminally Insane, where he has mounted major exhibitions including the infamous Gateway to Hell show, which has never closed and remains open to this day leaking demons, monsters, and other malicious entities into our world. So please join me in welcoming our panelists.

(Audience claps)

- Now convening Westwood death panel, January 19, 2011. We shall proceed despite the obvious hostility from the audience and the negative things said about us in the media. 

[31:05]

Are there any objections?

Audience: Yes! Yes! Boo!

- Let us begin.

(Knocking)

(Mysterious music)

Narrator: In the stillest hour between night and day, you lie awake, paralyzed
by fear and regret. The world is negative. If only you could sleep. 

[30:05]

You have so much work to do tomorrow. For an hour, neurotic images flicker before your minds eye, and you realize sleep is a luxury in a doomed economy.

All:

(Sung)
Terror, madness, anxious fears or shadows wake you
from the Night Epi$ode.
Negative reflections, eerie recollections light the Night Epi$ode. 

[29:10]

Taxes  spinning, papers dancing, numbers, figures haunt the Night Epi$ode.
Sexual frustration at your health insurance fills the Night Epi$ode.
Money flies like bats around all time and space within the Night Epi$ode.
Poorer, poorer, older, older, poorer, poorer
Ah, the Night Epi$ode.
Poorer, poorer, older, older, poorer, poorer 

[28:11]

Ah, the Night Epi$ode. 

(Rhythmic humming)

(Eerie music)

- As blind chief curator, my interest is in work that negates visuality, and thus, the West. As we all know, art objects are intrinsically racist and sexist and most typically homo- and transphobic. That is why, ideologically, I curate nightmares.

(Audience laughs)

- Fuck! Fuck, someone’s fucking tweeting me right now. God, who could it the fuck be.

[27:17]

"The America I know and love is not one in which my parents will have to stand in front of Obama's death panel so his bureaucrats can decide, based on a subjective measurement of their level of productivity in society, whether they are worthy of healthcare. Such a system is downright evil".

- Level of productivity in society is not a subjective measurement, carbon footprint plus
available funds in checking, minus Facebook friends times a trillion.

(Audience laughs)

- We need our own criteria, this panel has to rock.

- But the question is, who deserves to die?

- That's actually the theme of my new show.

- Discuss.

- Yes, I have been appointed executive curator of the Britney Biennial. The show is called "Younger Than Britney".

- Well who's in it.

- The major commission has gone to Veronika Phoenix.

- Huh, Veronika Phoenix.

- Yet, isn't she too old for "Younger Than Britney"?

[26:10]

- I'm only counting the time that she became a dead artist, which is one year. She's one year old. 

(Audience laughs)

And the youngest artist in "Younger Than Britney".

(Audience laughs)

- Well then I suppose we should Skype her into this conversation.

- She only answers séances.

- Don't you have the séance app on your phone.

(Audience laughs)

- A séance won't be necessary. Veronika Phoenix is here.

(Sung)
Driving hands free.
I loved my Prius, did he see?
In the SUV.
She's unliving the death dream now. 

[25:11]

Talking to Jeff, says there's trouble, it was all toxic.
I wasn't rich compared to other
Scientologists my age.
Driving hands free.
I loved my Prius, did he see?
In the SUV.
Must confront, did it have to be.
Hey, what happened?
Should I kill him and his family? 

[24:05]

Should I kill Jeff and his chosen family?
He's gay and they just adopted a Russian baby.
Driving hands free.
You convinced me to invest everything.
It's an SUV.
Fake flower, evil power, in my life Jeff. 

(Mystical music)

- The patriarchy can't be solved by improving the communication skills of the men in our lives. 

[23:05]

One of the most common accusations against witches is night flying. The ability to soar above the landscape of daily life, with eyes that penetrate the darkness and see what we are not supposed to see.

(Upbeat piano music)
Grave hand, melting face, guilty finger, choking choke,
Scratch the window, psychic war, how did I fall off the grid?
Heels dug into the mud as I slid.
Transformed into a distortion of my former form.
I'm a bell ringer.
Bell ringer?
I ring the bell for the Purple Cat, Black Champagne,
Green Lips, Blue Gums, Rainbow Strangler,
Violet Gun, Death Star
Death-is-Fun, Nail Polish, Steak Tartar, Worm Eyes,
Moth Breath, Ghost Car, Smell-of-Death! 

[22:03]

Night flying on fabric wings
Night flying with the night things
Veronika I. Phoenix, returns again and again.
My comeback is coming back again.
V.I.P.
R.I.P.
V.I.P.
R.I.P. 

- What's happening? Where am I?

(Audience laughs)

- Veronika Phoenix possessed your body and used it to promote her own pro-witch agenda.

(Audience laughs)

- Veronika Phoenix pretends to be political when her true interest is in international travel.

(Audience laughs)

[21:01]

- But today's nightmares must include inter-dimensional travel. That is why the best artist working today is Silas Shepherd Stevenson, whose sketches revealed a split entry point between planes of existence. One night, he left me a strange message. He demanded a midnight studio visit. I came right to the bad part of town. I crept up the narrow stairs to find him waiting for me. 

[20:14]

He closed the door and disappeared, leaving his last drawings on the table, and immediately, upon looking at them, I went mad!

(Audience laughs)

- All of this masterbatorialist chit-chat when our mandate is to kill members of the public.

- What about that new happening group, The Wall Street Situationists?’

(Sung)
Mama! ♪
She worked so hard to send me to business school.
I saw her at a party and pretended I didn't know her.

[19:04]

Like I didn't even know her.
I'll never see her again.

(Whistling)

As you know, nightmare curators are themselves failed dreamers. I too have made nightmares. Not what you sociopaths would call masterpieces, but rather proficient adequacies, which, of course, tell the future. 

[18:12]

There will be nightmare curators, murder critics, patrons of terror—

(Woman screaming)

— suicide academics, and yes, there will be artists as well. Trapeze artists. 

(Audience laughs) 

So much for the undead, but where are the people?

- I'm supposed to be at the LA Art Fair thing, that's across town in 13 minutes.

- You'll never make it.

- When will the humans realize that art is not a fair?

- I love the fair. Carnival rides are the best installations in the world! When I have had my fill of cotton candy, and interactive performances by Ketchup, Hotdog & Mustard, I go back to my hotel room and chat with sex strangers from the internet. 

[17:05]

As night time falls on Los Angeles, my poor soul falls into the abyss.

(Sung)
$18 Is the monthly fee, to chat and hook up with a couple.
Into one guy, he not me.
The other guy is trouble. 

(Slow jazzy music)

$80 for a lap dance.
Go-go boy got my number.
Uh oh oh oh oh.
I was bored sensing distance, his dick was big but not hard, no. 

[16:05]

His dick was big, but only so-so.
Burnin’ money, wasting my life.
Cruisin’ down the death drive.
Burnin’ money, wasting my life.
Cruisin’ down the death drive.
Cruisin’ down the death drive.
The dark room is my aftermath.
Hanging out on a dark path.
800 negative bank account.
Bathhouse bubbles up from hell.
Unfortunate mens’ eyes, they do abound. 

[15:05]

Wander in a towel, under evil spell.
$8000 is the devil’s bill.
What can they take if I'm destitute?
Back taxes from a void I'll never fill.
I'll prostitute while I'm still cute.
While I'm still cute i’ll prostitute.
If labors love it's my lack thereof.
Cruisin’ down the Death Drive.
It's not erotic, not even alive.
Cruisin’ down the Death Drive.
The dark room is my aftermath.
Cruisin’ down the Death Drive.
Hangin’ out on a dark path. 

[14:06]

Cruisin’ down the Death Drive.
As night falls on Los Angeles...
Cruisin’ down the death drive.
My poor soul falls into the abyss.
Cruisin’ down the Death Drive.
Cruisin’ down the Death Drive.
Cruisin’ down the Death Drive.
Cruisin’ down the Death Drive.
Cruisin’ down the Death Drive. 

- And so went the story of my friend, whose name is Charlie, who went to the LA Art Fair to sell his soul, but was only allowed to rent his body. 

(Audience laughs)

[12:58]

Does he deserve to die?

- Oh, it's the Board. “Because of the job-killing healthcare bill, there's going to be cut backs at every level.” Apparently one of us has to die.

- This drink for me?

(Audience laughs)

(Coughing)

(Grunts)

- Shall we dialogue with the audience?

- I think that we're all sufficiently humiliated by now. 

- Well, I'm actually too busy anyway.

- Yeah, I'm actually too busy also. Excuse me, I'm so thirsty. Garnic has some water, I'll just drink his water. 

[12:05]

I'm so thirsty!

- Give me some of that, I am, after all, the chief curator.

(Groans)

(Audience laughs)

Audience Members: You lie!

(Sung)
All the teachers, there's no school. 

All: No more telling lies, time to socialize.
All the nurses, there's no hospital.
No more telling lies, time to socialize.
All the lawyers, there's no love.
No more telling lies, time to socialize.
All the engineers, no engines.
No more telling lies, time to socialize. 

[11:07]

All the mommas, they can't mom.
No more telling lies, time to socialize.
All the babies, they can't babe.
No more telling lies, time to socialize.
All the public service specialists, there's no public.
No more telling lies, time to socialize.
Dance for socialism now!
Nah nah nah nah nah!
Nah nah nah nah nah.
Dance for socialism now!
Nah nah nah nah nah!
Nah nah nah nah nah.
Dance for socialism now!
No more telling lies, time to improvise. 

(Simultaneous singing)

(Silence)

(Fast music)

[9:13]

(Sung)
An ancient mystery, an ancient mystery.
An ancient.
An ancient mystery, an ancient mystery.
An ancient.
An ancient mystery, an ancient mystery.
An ancient.
An ancient mystery, an ancient mystery.
An ancient.  
An ancient mystery, an ancient mystery.
An ancient.  
An ancient mystery, an ancient mystery.
An ancient.  
An ancient mystery, an ancient mystery.
An ancient.  
An ancient mystery, an ancient mystery.
An ancient.
Heed our invocation!
To this ritual.
Mystical knowledge.
A declaration.
Incant, these principles.

[8:06]

Principles. 

(Slow guitar music)

[7:17]

We can worship one another.
The goddess or her brother.
Pagan rights protect us one by one.
We, can worship stars at midnight. 

Read the cards by moonlight.
Pagan rights protect us one by one. 

[6:49]

We… can worship the Transformer.
Nine muses for performers,
Seven rights protect us one by one.
One!
Defy the Christians.
Two!
Dance in a circle.
Three!
Sacrifice with dignity.
Four!
Anoint your body, body, body, body.
Five!
Tell the future.
Six! 

[6:06]

Respect your Mother.
Seven!
Follow your spirit guide
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh.
One!
Defy the Christians.
Two!
Dance in a circle.
Three!
Sacrifice with dignity.
Four!
Anoint your body, body, body, body.
Five!
Tell the future.
Six!
Respect your mother.
Seven!
Follow your spirit guide
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh.
Uh huh, uh huh, uh huh huh huh. 

[5:00]

- The night sky is broken, a black window, John.

(Sung)
Hermaphrodite, child of Aphrodite and Hermes.
Sing with your many genitals! They speak, John.
Lead my hand daemon, John!
We have lived here,
At Newcastle house, nigh on six months.
At Gordon's ancestral home. 

[4:12]

We: Pam, Maisy,
Colin, Roger, Nick,
Kouf, Juju, Mary and Joan, all seek guidance in this matter
Which affects our living collective.
Should John be removed from the commune?
We turn to the cards.
The two of pentacles!
Pros and cons.
We could take one road, or we could turn and take the other.
We have choices.
This is the unconscious mind, the nine of swords.
Fear, apprehension, we've had enough.
Knives in the old oak. 

[3:05]

Shadows on the wood.
This card is our guiding force, the hermit.
We stay home.
Business and property and profit.
I trust you recognize the meaning of this symbol.
Hermaphrodite, take my hand!
The deciding card,
John must go!
Shadows on the wood.
Shadows on the wood.
Shadows on the wood. 

[2:15]

- Let us pray.

(Upbeat guitar music)
Osiris,
and Isis.
Rebirth and death
And love.
Hawk-headed Horus is yours.
Testicles turn into flowers. 

[1:02]

We cut them down. 

(Slow guitar music) 

(Rhythmic humming)

Mami wata
Green black water of life.
Wash us down, through your smoking mirror, 

[00:00:16]

Tezcatlipoca, Huitzilopochtli, Xochi, Quetzal 

(Repeated dings)

[00:00:00]

End of part 3.

Part 4

[29:02]

- I had to leave because my lover was driving me insane. She painted me constantly, Nude, and I just found that incredibly, incredibly boring. And as her muse, I felt like I had to leave, or else her art would be shit. 

- Well, that's very nice of you. 

- It was a sacrifice, but I felt that I could meet someone else. Someone else creative in Mexico.

- Oh. You might find someone here. Are you an artist?

- No.

- You seem very creative.

- No, not really.

[28:04]

- I mean, the way you dress and like this, I mean, the colors that you're wearing are so muted yet sensual.

- That's a nice way to put it, thank you. Marie gave me this necklace.

- It's pretty. It's really, really nice. And it actually matches your—

- Lipstick?

- Lipstick, yeah.

- That's what I was thinking when I went out. But, I'd like to give you this necklace.

- No, no, no, no, no, no.

- No really.

- I mean, she gave it to you.

- No, I think you should have it.

- No, are you sure?

- I'm absolutely sure.

- Okay.

- Thank you.

- Oh.

(Thunder rolling and rain pouring)

(Suspenseful music)

(Thudding)

(Indistinct chatter)

(Giggle)

[26:56]

- Ok, You might wanna back away.

- Yeah, back away.

- I think Alex might be possessed. 

- Malik, this wasn't part of the rehearsal.

- Sometimes it gets out of control. Oh, I'm a little frightened actually.

- I'm a little frightened also.

- Okay, I think that Alex is possessed.

(Drum thumping)

(Shaker rattling)

- You know, I keep hearing that we're speaking German right now, you and I, Malik, and the ghost seems to understand German.

- We are speaking German right now. And he understands. So, could it be Matias Goeritz?

[26:05]

- Does anybody have some other questions, 'cause this is an opportunity that may not come again.

- Who has a question for Matias Goeritz?

- Fuiste un Nazi?

- You know, we have had this conversation before, like what would we do if we had the opportunity to ask Matias Goeritz a question, you had something right?

- El Eco was your, sort of, utopian vision for collective artistic production and it closed after two months. So I guess I wonder, does that constitute a complete failure, and is the failure of El Eco the entire failure of the modernist project?

(Mystical folk music)

[24:57]

Ecos de los ecos de los ecos de los ecos
Ecos de los ecos de los ecos de los ecos

[23:33]

Producing collectivity, collective production
Oye oye oye que paso? Solamente un eco

- Escuchando lo que ya termino
- Escuchando lo que no empezó

(Sung)
Homosexuales
A fin de evitar espectáculos
El de las parejas homosexuales es complicado
Porque traen la discusión de si están casados, o no
Arquitectura emocional
Ruinas
Del modernismo socialista

- ¡Estoy listo!

- Caigo en las calles de la memoria.

- ¿Mira?

[21:50]

- Yo sé que es amor.

- Yo sé, es más grande que todo el respeto y el miedo hacia Dios

- Aunque a veces, de tanto quererte…

- ¡Ey!

- ¡Estamos cantando!

- Sí, ya vi. Quítale la mano de encima.

- ¡Ay, ya! ¡No fastidies!

- ¿Cuál otra me vas a cantar?

- ¿Eh?

- ¿Cuál quieres?

- Me va a cantar.

- La que tú quieras.

- Estamos cantando.

- La que tú quieras.

- Estamos cantando.

- Ella canta.

- Qué bonito cantas, verdad.

- ¡Ya!

- ¡Qué bonito cantas!

- ¡Hoy vamos a cantar!

- Hoy.

- ¡Silencio!

- Si levantas la mano.

- ¡A cantar!

[21:03]

- ¡Ey!

- Tranquilícense!

- No pasa nada, ok.

- ¡No te enojes!

- Relájate.

- No, por favor. No pasa nada, relájate

- ¿Qué te pasa a ti?

- Estamos cantando.

- Cantando.

- ¡Cantemos!

- ¡Otra!

- Isabel; si no la sacas, mañana…

- Si no me saca, ¿qué?

- Mañana ya no tienes bar.

- Eh, eh, eh.

- No me toques, no me toques.

- Si no me saca, ¿qué?

- No me toques.

- ¡Ya, corazón!

- Si no me saca, ¿qué?

- Corazón, ahora sí muy corazón.

- Bueno, estamos aquí tranquilas, relájate.

- No pues no, yo no estoy tranquila.

- No pasa nada, relájate por favor.

- Ya no quiere vestuario, Isabel.

- ¡No!

- ¡Ey!

- Un gusto, mañana te cierro.

- Shhh.

- No te van a cerrar.

- ¿Por qué eres así?

- Ayúdame.

- ¡Qué horror!

- Debes ir de inmediato.

- Aquí están tus boletos.

- Lleva contigo tu pasaporte a la estación del tren.

- No puedes ir con él. Es demasiado peligroso.

- Espero tener al menos unas cuentas horas, de lo contrario, hasta la próxima vez.

- You must go at once. Here are your tickets. Comrade Irina has your Finnish passport at the railroad station.

- Mrs. Vlasova, I'm sorry, but you cannot go with him. It's too dangerous.

- I had hoped to have at least a few hours.

[20:03]

- Mother, until next time.

- Next time.

(Audience laughing)

How often you hear mothers lose their sons. I have kept my son, how have I kept him. The third, the cause, that is what united us. He and I were two, the cause was our third. 

[19:04]

How often I have heard sons talking to mothers. But our talks are better. We speak of a common cause. Oh. The Oedipal dramas of art history. Are staged between fathers and sons. Across the body of the mother. To resolve the ambivalence of his active and passive wishes the son is faced with a dilemma. Should he kill the father or seduce him? 

[18:03]

But what of the daughter? She is given the father's name, which positions her as his potential rival. I had the desire to be somebody different. I picked the name Alex as a nice androgynous nickname. A woman mimics a man who masquerades as a woman to prove his virility. A girl thing being a boy thing being a girl thing to be a bad thing. 

[16:58]

In the first few years of the child's life, that process we usually refer to as socialization, has become rather stereotypical when we refer to the role of the mother and father. And generally we think well of the father as the law-giver, right? The one who installs this kind of a taboo against incest, which means a child can't have the first object, and in that sense is able to sublimate, and perhaps we think of most creative work coming from that place, or all social contracts coming from that place. But the mother, on the other hand, we're thinking of her as the real agent of satisfaction, or we're thinking of her as the imaginary good or evil caretaker, but she also has a symbolic role.

[16:07]

Not exactly like the one I described for the father, but it's equally important in the way the child makes that passage into language and culture. And basically she's saying you can't kill your brothers and sisters. And to negotiate that rivalry is what's absolutely crucial to any kind of communitarian project.

- Hudson river valley, 1930, Eleanor, a celebrated humanist, philanthropist and woman at large, created Val-Kill Industries as a means to employ young men, women and people of colors, hit hard by the Depression. The goal of Val-Kill was, as Eleanor put it, “To supplement the income of local families and sustain a healthy balance between rural agriculture and urban industry, all the while creating the best handmade replicas of my favorite type of furniture in the Dutch colonial style.” This is the cottage workshop where Val-Kill was founded and where, today, Eleanor will sit down at her typewriter to write the Universal Declaration of Human Rights, inspired by an argument she had at dinner the night before with a well-known robber baron. 

[14:58]

Eleanor will submit the Universal Declaration to the United Nations, after much proofreading. Whereas recognition of the dignity and inalienable rights of all members of the human family is the foundation of freedom, justice, and peace in the world.

- Are you listening there? Are you listening, you bastard?

- Therefore the General Assembly proclaims this Universal Declaration of Human Rights. All human beings are born free and equal in dignity and rights. 

[14:07]

They are endowed with reason and conscience and should act in a spirit of brotherhood and sisterhood. 

(Hammers hammering)

(Machinery drilling)

- Not with you around.

(Stomping)

Your son has been shot. He went to the wall built by men just like him, and men like himself. 

[13:04]

Made the weapons that shot him. Made the bullets that pierced his chest. Your son has been shot. The men who shot him were no different from him. The chains that held him were made by men like him. And men, just like him, put the chains on him. But they didn't blindfold him so he saw them. He saw the factories at dawn. At dawn, they were empty but soon they were filled. With men just like him, workers just like himself. He thought these will be our weapons. These workers are the weapons of our revolution. 

[12:05]

At that moment, Mrs. Vlasova reached for the flag. “Let me have the flag, Smilgin,” she said, “All of this must be changed.” 

(Audience clapping)

Because I am a policeman who must enforce the rules, even though I'm corrupt, I am forced to rip open your couch to see what you got hidden in there.
One, two, three, four 

[11:08]

An ancient circle, ancient circle, ancient circle
An ancient circle, ancient circle, ancient circle
An ancient circle, ancient circle, ancient circle
An ancient circle, ancient circle, ancient circle
An ancient circle, ancient circle, ancient circle
An ancient circle, ancient circle, ancient circle
You were born poor
And poor, you will die
You were born middle class
And poor, you will die
You were born rich
And rich you will die

(Upbeat rock music)
A repetition, representation

[9:30]

Figuration, reenacted within a cave
Of that passage of which we are told
Leads in and out of the path in between
Of the go-between path that links two worlds,
Two modes, two methods, two measures of replicating
Representing, viewing, in particular, the sun
The fire, the light, the objects and the cave.

[9:02]

Of this passage that is neither outside or inside
That is between a way out and a way in
Between access and egress
This is a key passage
This is a key passage even if it is neglected
Or even especially when it is neglected
For when the passage is forgotten
By the very fact of its being reenacted in the cave
It will found, subtend, sustain the heart
Of all dichotomies, categorical differences
Clear cut distinctions, absolute discontinuities
All the confrontations of irreconcilable representations
Between the world outside and the world inside

(Sung)
Between the world above
and the world below

[8:05]

Between the sky and light and the fire of the earth
Between the gaze of the man who has left the cave
And that of the prisoner
Between truth and shadow, between truth and fantasy
Between truth and whatever veils the truth
Between reality and dream
Between, between
Everything is acted out
Between rehearsal and performance 

[7:04]

Repetition and representation or reproduction
Everything is acted out between rehearsal and performance
Repetition and representation or reproduction
Everything is acted out between rehearsal and performance
Representation
Everything is acted out
Repetition and representation or reproduction
Everything is acted out between rehearsal and performance
Repetition and representation or reproduction
I heart mimesis 

(Flutes and high pitched singing)

You were born poor and poor you will die
You were born poor and poor you will die

[6:01]

You were born middle-class and that won't last
You were born middle-class and poor you will die
You were born rich and rich you will die

(Harmonizing)

(Cello and violin playing)

[00:00:00]

End of part 4.