Tuesday, February 28, 2006

The Milan Kundera Day

Today started off well. I have this huge paper for Maria's class tomorrow which I started yesterday. I worked on it for about four hours and then something really good come on on iTunes. So I started dancing and didn't stop untill...oh say... four o'clock. Then I decided I wouldn't get any work done in my room so I went out to get a bubble tea. Oh shit I ran into Jessie and Kevin and ended hanging out with them for a while. After Jessie left Kevin and I sat on his trunk. I let him listen to Alvin's failure message because he had just read Milan Kundera. On his car, to the setting sun, we were light...

Monday, February 06, 2006

Maps


Monday, January 30, 2006

Chicago

We left at about 4:00 after class on Friday. Since Drew didn't know how to drive we pulled into a couple parking lots on the way so that he could learn. One time we parked and the head lights spewed out over the prairie so that we couldn't help but run into it. We found this pond and covered our bodies and faces in mud. All of a sudden we became animals and for the next hour we grunted and galloped through the weeds, ridding our selves of the city and taking in the landscape.
We cleaned off in a gas station down the road (except for our faces!). The lady at the counter looked at us strangely when we came out of the bathroom because we were in there together and giggled a lot.
We spent the night with the collective Hey Cadets! were Drew had some friends. We woke up in a panic, afraid we were late and quickly got directions. We got there just in time. The Goats were so nice, they each approached me individually and introduced them selves. They remembered us from the last time we had gone to see them and offered to send me a tape of their film. Lin Hixson sat next to me through much of the workshop and teased me about the mud. "Is it a performance?", she asked me, "It's working". I had lunch with some of the other participants and found out they were all involved in an experimental theatre company and that they all hoped to go to the summer school together. We also met someone who had gone to school with Andrea Hickerson and some one who had gone to school with Brent Summnerhauser. When I left, Lin made sure that we stayed in contact and I told her that they were all "The craziest people I had ever met."

We then went to Sultan's market. Holy shit, after that we didn't know what else we would possibly want to do in Chicago so we just hit the road. Drew actually drove part of the way back so that I could sleep off some road hypnosis. When we were both so tired I parked in a gas station parking lot just outside of St. Louis to sleep it off. Then some dumb cop started flashing his light in our eyes through the window demanding our ID. Before we knew it he had called backup and was searching the car. When I finally came to I realized the only reason he was doing this was because we had parked with our headlights on which apparently is reason enough to get your car searched in the Missouri boonies (this isn't the first time I've had to put up with this shit from hick cops). He even started to go through my glove compartment without my permission and when I complained he just threatened me. He found an unmarked prescription bottle of claritin and when I told him what it was he just said (get this) "If I had a lab and a little bit more knowledge I'd have you in the county lock up." He confiscated my allergy medicine, told us we were a long way from home (three and a half hours away) and that we should take shower. God damn. Anyway when we finally made it back I was so tired I just crashed in the studio with my sleeping bag.

Tuesday, January 24, 2006

The Architecture of Participation

The Architecture of Participation

We must learn to love each other more despite the risk of failure-a willingness to indulge is an interdisciplinary practice.
What happens when we start to read the same books, sleep in the same beds? ((<>)) forever. [1]

yann,

does calvino make you want to smile to people?
does it make you want to draw a picture?
does listening to plej make you want to design a box?
does it make you want to dance in a clean space?
does a romantic film make you want a glass of wine?
does it make you want stare at somebody?
does riding in an elevator make you want to sit in a chair
does it ever?

-alvin
12-7-05
[2]

If we focus on the miraculous moment, we start to see miraculous moments everywhere. We become one who is defined by the perception of the proliferation of miracles. [3]

...Every cubic inch of space is a miracle...[4]

I hadn't spoken to Griffen since the summer I left for the dorms. He was playing music that night.
Me: When did you learn to play guitar?
Griffen: I didn't.

What's interesting isn't whether I'm capitalizing on anything, but whether there are people doing something or other in their little corner, and me in mine, and whether there might be any points of contact, chance encounters and coincidences rather then alignments and rallying points (all that crap where everyone's supposed to be everyone else's guilty conscience).[5]

Sources:
1 Miranda July
2 Alvin Aronson
3 Goat Island
4 Walt Whitman
Griffen Jerome
5 Gilles Deleuze

Sunday, January 22, 2006

Stickie


Stickies are amazing

Thursday, January 19, 2006

What Was Wrong With Collaborative Practices

Last night my brother and I went to a show in Batman masks. During the day we made Baterangs in our kitchen and passed them out to all the right people at the show. They wouldn't let us in because my brother was under 18 so we just joined Ashley Miller's band and we performed with him.
The two concepts that were introduced and not sufficiently explored in the Interdisciplinary elective last semester were the integration of spaces and the architecture of participation (through which the prior occurs). Thank god Robin passed me that letter during critique. If not for that the whole semester could have been for shit. (Robin I really must thank you for all you patience)
Here's a link to an essay entitled Folksonomies and the Architecture of Participation [http://www.windley.com/essays/2005/folksonomies] Most of the research currently going into the architecture of participation is going into the internet. I don't know why wikipedia wasn't on the syllabus. Once you wrap your head around that you can begin to integrate and overlay different spaces. Oh and as far as artists really pushing the envelope on the architecture of participation... all the artists that we were exposed to (with the exception of CARL, which was a brilliant day) in the course were so inaccessible. I don't know why Miranda July, Goat Island or Bruce Mau were not sufficiently underscored. They are all so accessible... hell, Goat Island has already developed a curriculum for these concepts and you can buy it for $15 on their website! Bruce Mau has that wonderful manifesto and Miranda July's learningtoloveyoumore.com couldn't be any more inviting. (I don't feel like putting in the links, just click on the ones on the side bar).
Fuck that class.

The Practice of Wandering as a Cinematic Pedagogy {draft}

The Practice of Wandering as a Cinematic Pedagogy

The SI's practice of the Derive as a practice and study of wondering

Wonder
Impact
Remember
Return



Last semester I screened Michelangelo Antonioni's Blow-Up in Epperson Auditorium. It was not well received. To paraphrase the captain of the KCAI "film Society" "It sucked because nothing happened." Despite my efforts to loosen up the crowd's expectations towards their preconceptions of a cinematic experience (mostly by talking and screaming) most of the audience sat through the whole film silently gazing. Later in conversation with my film teacher I mentioned how the film was not well received. His response was that the film was tough to digest upon a first viewing. Blow-Up is celebrated by critics for it's continual ability to challenge the way we think and view film. I believe this has less to do with the film it's self and more to do with the high cultural obligation to sit down and through a whole film.
In the film the camera follows the meandering path of the lead role played by David hamming. He is constantly dropping a situation and wondering into other spaces. This is not to say that there is no continuity for the main plot points of the film are underscored by his return to specific spaces. At the beginning of the film he takes a photograph of a couple in a park. He then enlarges, prints and puts up the photographs in his studio. While distractions wonder in and out of his studio space, the photographs are never too far in his memory. Eventually he uncovers a murder in one of the pictures and then hastily returns to the site. The narrative of the film parallels how one might come to understand a film with some sort of personal impact.
A certain film is seen and subsequently carried around in one's mind for some time until it is seen again. By the second viewing one has had time to reflect and have new experiences outside of the film. This is important because film is so demanding of our attention that it tends to dominate the encounter at the time of it's experience.
While I maintain that Antonioni's articulation of this cinematic understanding is very artful and important I believe that there are other undercelebrated directors who make a statement for the crisis of understanding film. Namely Andy Warhol and Richard Linkwater. Last year the electromediascope curated a series on Andy Warhol which was well received by the art going public. Before attending the second screening I remember a conversation amongst the Warriors, "I'm not going to that those movies were so stupid". "I've pretty much come to conclusion that Andy Warhol was just a pretentious fuck anyway". Against their advice, that I night I attended the screening of Chelsea Girls. I was stricken by the film yet I too found it difficult to muster the patience necessary to sit through marathon of interchangeable reels that make up its length. Though the film as it was screened was a test of patience I found it even more difficult to sit through the curator's lecture before the film started. As a matter of fact I would say that any discomfort experienced by anyone at the film was more an issue of curation then could be attested to the intent of the artist. My reasoning behind this is because when Warhol screened his monumental film Sleep (clocking in at 8 hours long) it was a party. People could walk in and out of the theatre as they pleased, appreciate the film as long as they wanted, and then continue to drink and socialize just outside. The film was meant to be wondered in and out of. Similar socialistic around film has occurred as film has become a furniture component (ie the television). This is where database narrative structures have emerged (not unlike Chelsea Girls) where a topic is chosen and then episodes are found. I was watching the film on Fugazi released by Dischord when I realized that what was so great about it was that it made no attempt to make Fugazi interesting. The only way you would sit through the whole thing is if you had already held some sort of personal interest in Fugazi. The film was composed of scattered interviews and footage from various shows over the years. The narration was limited to passages from interviews and quotes from songs. It was a lot like a skate video (which I would imagine a great number of Fugazi fans also enjoy) where there is no possible way to be interested in it unless you skate. Think back to the party at Lindsay Robin and Jessie's where there was a room for the TV. All that was being shown was Bjork videos but even people who didn't like Bjork were sitting there. It was because the TV was providing a certain communal ambiance, a focal point, around which other points could emerge because it wasn't like you had to pay to much attention to it. You could talk about something else with anyone in the room if you wanted to. People were free to come and go as they pleased. It was a space through which we could travel. I would liken this sort of activity to the sort explored in Slacker by Richard Linkwater.
Issues surrounding these themes have been brought up to me by my teachers. In conversation with Russell once regarding his own pedagogical usage of film within the class room. (For those of you who did not have Russell, I'll elaborate. Russell would push the television cart into the class space in almost the same manner that he would moving one of those mobile triangle sections. Then he would just start the movie and leave it on. We were all standing around doing whatever it was that we did in class and watch the movie at the same time. Sometimes he would just show the first five minutes, or start the movie half way to the part that he cared about. In any case the film became just another element amongst many in the room, allowing for a more-please excuse my French-rhizomic relationship to occur between the class activities, work on the wall and Russel's occasional if not random commentary.) Later last semester we were discussing Cocteu's Beauty and the Beast and how the old movies were boring as hell and the dilemma he faced in screening them to his students. He didn't want to destroy some else's artwork but if all he really wanted to show was one scene or one shot what was he to do. Last year at the Pompadour Center Paris I encountered Godard's Histoires Du Cinema. It was just playing as a sort of screen saver in their media center. I think Godard was really onto something by really taking advantage of the video technology in order to explore the history of cinema. What he did was fairly simple. He just spliced together scenes from historic films at the Cinematheque and over layed them in order to created new forms and textures. It's a monumental work spanning the history of cinema over several episodes. Anecdotally Godard was also important in incorporating the idea of the loop into his earlier films.
My teacher Andrea complained that time based media was not explored at all in foundations. I told him that I disagreed and that I learned a lot about time in foundations citing several of Russell and Shirley's lessons. "But did anyone get it?" he asked me. "The problem is when to introduce you guys to what. If I show a particular film now or later could make all the difference." Well of course no one learned about time while they were making marble machines or wove gigantic spheres. But later we would. I didn't have an answer for him then, nor do I expect that he wanted an answer but I think there is something wrong with the way films are screened educationally. These films are full of good ideas that I agree must be explored but as students we have already received an education about the moving image that cannot be ignored.
My proposal is to install a television in the studio space which will play the same film on a continues loop for a week. Each week a new film will be screened. The purpose will be to have us encounter the moving image again and again and again until it becomes something other then that which we originally encountered. Andrea often refers to Pina Bausch and if I remember correctly she well known to say "that we must look and then look again".

How television

Pausing For Godot

So I decided to see what would happen if I deleted everything that wasn't between paranthesis in Waiting For Godot.

Act 1


(giving up again). (advancing with short, stiff strides, legs wide apart). (He broods, musing on the struggle. Turning to Estragon.) (He reflects.)
(irritably).
(hurt, coldly).
(admiringly). (without gesture). (Decisively.)
(gloomily). (Pause. Cheerfully.) (Estragon tears at his boot.) (feebly). (angrily).
(angrily).
(angrily). (pointing). (stooping). (He buttons his fly.) .
(musingly).(He meditates.) (He takes off his hat, peers inside it, feels about inside it, shakes it, puts it on again.) (he searches for the word) . (With emphasis.)(He takes off his hat again, peers inside it.)(He knocks on the crown as though to dislodge a foreign body, peers into it again, puts it on again.) (Estragon with a supreme effort succeeds in pulling off his boot. He peers inside it, feels about inside it, turns it upside down, shakes it, looks on the ground to see if anything has fallen out, finds nothing, feels inside it again, staring sightlessly before him.) (examining his foot). (He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) (Silence. Vladimir deep in thought, Estragon pulling at his toes.) (Pause.) (Pause.) (He reflects.) (He smiles suddenly from ear to ear, keeps smiling, ceases as suddenly.) (Pause.)
(irritably). (He reflects.) (Gesture towards his rags.) (Pause.) (he searches for the contrary of saved)(pause) (Pause.) (with exaggerated enthusiasm). (He turns, advances to front, halts facing auditorium.) (He turns to Vladimir.) (despairingly). (Pause.) (They look at the tree.) (Angrily.)
(looking round).(turning towards auditorium) (Pause.) (He fumbles in his pockets, bursting with miscellaneous rubbish.)
(very insidious). (Pause.) (Pause.) (looking wildly about him, as though the date was inscribed in the landscape). (Pause.)(feebly). (Estragon sits down on the mound. Vladimir paces agitatedly to and fro, halting from time to time to gaze into distance off. Estragon falls asleep. Vladimir halts finally before Estragon.) (restored to the horror of his situation). (Despairingly.) (gesture toward the universe). (Silence.)(coldly.) (Pause.) (Pause.) (Pause.) (Pause. Wheedling.)
(voluptuously.) (Pause.)
(gently.) (Silence. Estragon takes a step forward.) (Silence. Another step forward.) (without turning). (step forward). (Silence. Step forward). (Silence. Step forward. Estragon lays his hand on Vladimir's shoulder.) . (Silence.) (Vladimir half turns.) (Vladimir stiffens.) (Vladimir softens. They embrace. #
Estragon recoils.) (Silence. Estragon looks attentively at the tree.)
(highly excited). (They go towards the tree.) (finally). (He reflects.) (Angrily.)
(with effort).
(anxious). (distinctly). (feebly). (Pause.) (They listen. Estragon loses his balance, almost falls. He clutches the arm of Vladimir, who totters. They listen, huddled together.) (violently). (Vladimir rummages in his pockets, takes out a turnip and gives it to Estragon who takes a bite out of it. Angrily.) (He rummages again in his pockets, finds nothing but turnips.) (He rummages.) (He rummages.) (He brings out a carrot and gives it to Estragon.)
(Estragon wipes the carrot on his sleeve and begins to eat it.)(chewing). (Pause.) (Chews.) (He looks at the carrot appreciatively, dangles it between finger and thumb.) (He sucks the end of it meditatively.)(his mouth full, vacuously). (chews, swallows). (Pause.) (He raises what remains of the carrot by the stub of leaf, twirls it before his eyes.)
(after prolonged reflection).. (He proffers the remains of the carrot to Vladimir.)
(off). (Crack of whip. Pozzo appears. They cross the stage. Lucky passes before Vladimir and Estragon and exit. Pozzo at the sight of Vladimir and Estragon stops short. The rope tautens. Pozzo jerks at it violently.) (Vladimir and Estragon turn towards Pozzo.) (undertone). (trying to remember the name). (to Estragon). (timidly, to Pozzo). (terrifying voice). (Silence.) (Silence.) (Silence.) (pretending to search). (ditto).
(conciliating).
(hastily). (halting). (He puts on his glasses.) (He takes off his glasses.) (He bursts into an enormous laugh.) (peremptory). (recoiling before Pozzo). (with magnanimous gesture). (He jerks the rope.) (Pause.) (Jerks the rope.) (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) (Enter Lucky backwards.) (Lucky stops.) (Lucky turns. To Vladimir and Estragon, affably.)(Before their incredulous expression.) (He jerks the rope.) (Lucky advances.) (Lucky stops.) (he consults his watch) (he calculates) (To Lucky.) (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.) (Pozzo holds out the whip. Lucky advances and, both his hands being occupied, takes the whip in his mouth, then goes back to his place. Pozzo begins to put on his coat, stops.) (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes back to his place and takes up bag, basket and stool.) (Pozzo finishes buttoning up his coat, stoops, inspects himself, straightens up.) (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) (he puts on his glasses and looks at the two likes) (He takes off his glasses.) (Lucky puts down bag and basket, advances, opens stool, puts it down, goes back to his place, takes up bag and basket.) (Lucky puts down bag and basket, advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky's chest and pushes.) (Lucky takes a step back.) (Lucky takes another step back.) (Lucky stops. To Vladimir and Estragon.) (Lucky advances, gives the basket, goes back to his place.) (He opens the basket, takes out a piece of chicken and a bottle of wine.) (Lucky advances, picks up the basket and goes back to his place.) (Lucky takes a step back.)
(They close in on him.) (pointing). (looking at the neck). (grudgingly). (shrugging his shoulders, wry face.) (looking closer). (ditto).(Pause.)
(timidly).
(louder).(They turn toward Pozzo who, having finished eating, wipes his mouth with the back of his hand.) (He strikes a match and begins to light his pipe. Estragon sees the chicken bones on the ground and stares at them greedily. As Lucky does not move Pozzo throws the match angrily away and jerks the rope.) (Lucky starts, almost falls, recovers his senses, advances, puts the bottle in the basket and goes back to his place. Estragon stares at the bones. Pozzo strikes another match and lights his pipe.) (He pulls at his pipe, stretches out his legs.)
(timidly).
(scandalized). (He turns them over with the end of his whip.)(Estragon takes a step towards the bones.) (Estragon stops short)(Estragon turns towards Lucky, hesitates.) (To Estragon.) (in raptures). (Lucky bows his head.) (Silence of Lucky. To Estragon.) (Estragon makes a dart at the bones, picks them up and begins to gnaw them.) (He looks anxiously at Lucky.) (exploding). (To Vladimir). (stutteringly resolute). (gesture towards Lucky)(not to be outdone).(To Vladimir.) (Silence.) (To Estragon.) (He knocks out his pipe against the whip, gets up.) (He reflects.) (They say nothing.) (hand to heart, sighing) (Silence.) (Sighs.) (Silence.)(Silence.)(To Vladimir.) (Silence.) (Silence.) (He jerks the rope.) (He points with his whip. Lucky moves the stool.) (He sits down. Lucky goes back to his place.) (vehemently). (scenting charity).
(having lit his pipe). (he takes the pipe out of his mouth, contemplates it) (He puts the pipe back in his mouth.) (To Vladimir.) (They all look up at the sky.) (They stop looking at the sky.) (he takes the pipe out of his mouth, examines it) (he relights his pipe) (puff) (puff) (pause)(he looks at them ostentatiously in turn to make it clear they are both meant)(delighted).(to Estragon). (circling about Lucky). (who has followed these exchanges with anxious attention, fearing lest the question get lost).(to Estragon). (To Estragon). (He looks at Lucky, jerks the rope. Lucky raises his head.) (Lucky looks at him.) (He puts the pipe in his pocket, takes out a little vaporizer and sprays his throat, puts back the vaporizer in his pocket, clears his throat, spits, takes out the vaporizer again, sprays his throat again, puts back the vaporizer in his pocket.) (He looks at them all in turn, jerks the rope.) (Lucky raises his head.)(angrily). (Pause. Calmer.) (Pause.) (Pause. Louder.) (forcibly). (He points at Lucky.) (He sags, panting.) (He opens his hands, straightens up with relief.) (Pause.)(to Estragon). (All three look at Lucky.) (Silence.) (He proffers his handkerchief to Estragon.) (Estragon hesitates.) (Estragon takes the handkerchief.) (Estragon approaches Lucky and makes to wipe his eyes. Lucky kicks him violently in the shins. Estragon drops the handkerchief, recoils, staggers about the stage howling with pain.) (He pulls up the leg of his trousers.)
(to Estragon). (Estragon shows his leg. To Pozzo, angrily.) (on one leg). (tenderly). (Pause.) (To Estragon.) (Lyrically.)(He laughs.) (Pause.) (Pause. Judiciously.) (Pause. Pointing to Lucky.) (looking at the sky.) (Pause. With extraordinary vehemence.) (Calmer.) (startled from his inspection of the sky).(he consults his watch)(Drawing himself up proudly.) (Pause.) (Lucky puts down the basket and takes off his hat. His long white hair falls about his face. He puts his hat under his arm and picks up the basket.) . (Pozzo takes off his hat. [All four wear bowlers.] He is completely bald. He puts on his hat again.) (groaning, clutching his head). (he waves his arms) (he collapses, his head in his hands)
(to Lucky).
(sobbing).
( to Vladimir). (calmer). (More and more his old self.) (Drawing himself up, striking his chest.) (He rummages in his pockets.) (on the point of tears).
(convulsed with merriment). (He misses Vladimir.) (Pause.) (Pozzo gets up and goes over beside Estragon. Estragon points off.) (having put on his glasses).
(to Vladimir). (Looking round.) (Raising his hand.) (He looks at the stool.) (Pause. Aside.) (He sits down.) (Pause.) (He consults his watch.)
(cuddling his watch to his ear). (He puts his watch back in his pocket.) (to Pozzo). (He laughs, pleased with this witticism.) (Silence. Estragon is fiddling with his boot again, Vladimir with his hat.) (Vaporizer.) (Vladimir and Estragon continue their fiddling, Lucky is half asleep. Pozzo cracks his whip feebly.) (He gets up and cracks it more vigorously, finally with success. Lucky jumps. Vladimir's hat, Estragon's boot, Lucky's hat, fall to the ground. Pozzo throws down the whip.) (He looks at Vladimir and Estragon.) (He sits down. To Estragon.)
(who hasn't listened). (He raises his head.) (He looks at the sky.) (All look at the sky except Lucky who is dozing off again. Pozzo jerks the rope.) (Lucky looks at the sky.) (They stop looking at the sky.) (Pause.) (Pause.)(Lyrical.) (he looks at his watch, prosaic) (lyrical) (he hesitates, prosaic) (lyrical) (gesture of the two hands lapsing by stages) (dramatic pause, ample gesture of the two hands flung wide apart) (hand raised in admonition)(vibrantly)(his inspiration leaves him) (Silence. Gloomily.) (Vladimir and Estragon look at him blankly.) (first to understand). (to Estragon). (fervently).(Pause.) (Pause.) (to Vladimir).(to Estragon, indignantly). (He jerks the rope. Lucky looks at him.) (He picks up the whip.) (he shudders).(to Pozzo). (Silence.) (He imitates Lucky, almost falls.) (squirming like an aesthete). (He fumbles in his pockets.) (He fumbles.)(He fumbles.) (He looks up, consternation on his features. Faintly.) (faintly). (He coughs feebly. In ringing tones.) (normal voice). (He ponders.) (Ponders.) (He raises his head.) (triumphantly). (impatient). (glance at Lucky). (to Pozzo). (to Estragon). (to Pozzo). (to Pozzo). (Vladimir and Estragon move away from Lucky. Pozzo jerks the rope. Lucky looks at Pozzo.) (Pause. Lucky begins to dance.) (Lucky stops.) (Lucky advances.) (Lucky stops.)(Lucky stops.) (Lucky moves back.) (Lucky stops.) (Lucky turns towards auditorium.)
(mêlée, final vociferations)
(He snatches the hat from Vladimir, throws it on the ground, tramples on it.) (He kicks Lucky.) (He jerks the rope.) . (Pause.) (Vladimir and Estragon totter.) (Pozzo fetches bag and basket and brings them towards Lucky.) (He puts the bag in Lucky's hand. Lucky drops it immediately.) (He puts back the bag in Lucky's hand. Gradually, at the feel of the bag, Lucky recovers his senses and his fingers finally close round the handle.) (As before with basket.) # (Vladimir and Estragon move away from Lucky who totters, reels, sags, but succeeds in remaining on his feet, bag and basket in his hands. Pozzo steps back, cracks his whip.) (Lucky totters forward.) (Lucky totters back.) (Lucky turns.) (Turning to Vladimir and Estragon.) (he fumbles in his pockets) (fumbles) (fumbles)(Fumbles.) (Sobbing.) (He searches on the ground, Vladimir and Estragon likewise. Pozzo turns over with his foot the remains of Lucky's hat.) (He doubles up in an attempt to apply his ear to his stomach, listens. Silence.) (He beckons them to approach, Vladimir and Estragon go over to him, bend over his stomach.) (disappointed). (long hesitation) (Having come to the end of the rope, i.e., off stage, he stops, turns and cries.) (Vladimir and Estragon stand back, look towards Pozzo. Crack of whip.) (He appears, crosses the stage preceded by Lucky. Vladimir and Estragon wave their hats. Exit Lucky.) (On the point of disappearing in his turn he stops and turns. The rope tautens. Noise of Lucky falling off.) (Vladimir fetches stool and gives it to Pozzo who throws it to Lucky.)
(waving). (Noise of Lucky getting up.) (Exit Pozzo.) (despairingly). (Pause. To himself.) (Vladimir does not react.) (to himself).(off).(forcibly).(Pause.) (violently). (The Boy advances timidly.) (to Estragon).(violently). (Advancing, to the Boy.) (recoiling). (Pause.) (Silence.) (Shaking the Boy by the arm.)(trembling). (Estragon releases the Boy, moves away, covering his face with his hands. Vladimir and the Boy observe him. Estragon drops his hands. His face is convulsed.) (Estragon tries to speak, renounces, limps to his place, sits down and begins to take off his boots. To Boy.) (Pause.) (in a rush). (The Boy hesitates.) (The Boy hesitates.) (Silence.) (he hesitates) (Pause.) (Estragon gets up and goes towards Vladimir, a boot in each hand. He puts them down at edge of stage, straightens and contemplates the moon.) #
(turning to look at the boots). (Pause.) (Pause.) (He takes Estragon by the arm.) (looking at the tree). (He moves away from Vladimir.) (He crosses the stage and sits down on the mound.) (without anger).

Act 2


(Estragon halts but does not raise his head. Vladimir goes towards him.) (Pause.) (Pause. Vladimir observes him attentively.) (Pause.) (Estragon remains silent, head bowed.)(Estragon does not raise his head. Violently.)(Silence.) (Pause.)(sadly).(shocked).(Joyous.) (Indifferent.)(Gloomy.)(vexed). (Silence.) (Estragon groans. Silence.) (after a moment of bewilderment). (Pause.)(suddenly furious). (Looking wildly about him.) (gesture) (he hesitates)(he snaps his fingers) (snaps his fingers)(a little calmer).(exasperated). (Pause.)
(sententious). (He sighs.) (Afterthought.)(in anguish).(He reflects.) (He takes off his hat, concentrates. Long silence.) (sure of himself). (controlling himself). (With assurance.) (weary). (Estragon gives a leg to Vladimir, staggers. Vladimir takes the leg. They stagger.) (Estragon gives the same leg.) (Estragon gives the other leg. Triumphantly.) (letting go the leg).(exasperated).(exasperated). (triumphantly, pointing to the boots). (Estragon looks at the boots.)(stupefied). (picking up a boot). (Estragon hands him the boot. Vladimir inspects it, throws it down angrily.) (having tried in vain to work it out). (Pause.) (Pause. Despairing.) (Vladimir fumbles in his pockets, finds nothing but turnips, finally brings out a radish and hands it to Estragon who examines it, sniffs it.) (Estragon hesitates.) (impatiently). (He picks up a boot.) (Estragon raises his foot.) (Estragon raises the other foot.) (Wreathed together they stagger about the stage. Vladimir succeeds finally in getting on the boot.) (Estragon walks.) (taking string from his pocket). (vehemently). (As before.) (grudgingly).(violently). (Silence.) (He goes over and sits down beside Estragon and begins to sing in a loud voice.)(looking up angrily). (softly). Estragon sleeps. Vladimir gets up softly, takes off his coat and lays it across Estragon's shoulders, then starts walking up and down, swinging his arms to keep himself warm. Estragon wakes with a start, jumps up, casts about wildly. Vladimir runs to him, puts his arms around him.) (Vladimir walks up and down.) (Pause. Despairing.) (halting, violently). (seeing Lucky's hat). (He goes towards it.) (Very pleased.) (He picks up the hat, contemplates it, straightens it.)(He puts it on in place of his own which he hands to Estragon.) (Pause.) (Pause.) (He imitates Lucky sagging under the weight of his baggage. Estragon looks at him with stupefaction.)(after reflection). (He writhes. Exit Estragon left, precipitately.)(He looks up, misses Estragon.) (He moves wildly about the stage. Enter Estragon left, panting. He hastens towards Vladimir, falls into his arms.) (triumphantly). (He drags Estragon towards the wings. Estragon resists, pulls himself free, exit right.) (Vladimir runs to extreme left, scans the horizon. Enter Estragon right, he hastens towards Vladimir, falls into his arms.) (Estragon makes a rush towards back.) (He takes Estragon by the arm and drags him towards front. Gesture towards front.) (He pushes Estragon towards auditorium. Estragon recoils in horror.) (He contemplates auditorium.) (He reflects.) (Estragon hesitates.) (Estragon goes and crouches behind the tree, realizes he is not hidden, comes out from behind the tree.)(calmer). (He draws Vladimir to extreme right and places him with his back to the stage.) (Vladimir scans horizon, screening his eyes with his hand. Estragon runs and takes up same position extreme left. They turn their heads and look at each other.) (They continue to look at each other for a moment, then resume their watch. Long silence.) (turning his head). (louder). (turning his head). (louder).
(turning simultaneously). (with finality). (stopping).(stopping). (Pause.)
(stopping). (stopping, brandishing his fists, at the top of his voice.)(vexed).(clutching onto Lucky who staggers). (He goes towards the heap.) (Gesture towards Lucky.) (Pause.) (Pause. Vehemently.)(Estragon says nothing.)(Pause.) (aphoristic for once). (He throws up his hand.) (He advances towards the heap, stops in his stride.) (recoiling).(Pause. Louder.) (He tries, fails.)(violently). (with a start). (striking Pozzo). (Pozzo extricates himself with cries of pain and crawls away. He stops, saws the air blindly, calling for help. Vladimir, propped on his elbow, observes his retreat.) (Pozzo collapses.)(alarmed). (He reflects.) (Silence.)(raising his eyes). (Pause.) (Despairing.) (They get him up again. Pozzo sags between them, his arms round their necks.) #(laughing noisily). (Pause.)(inspecting the sky).(anguished)(reassuring).(Pause.) (They half release him, catch him again as he falls.) (irritably).(Pause.) (Pause.) (violently). (looking round).(sagging). (Pause.) (to Estragon). (Silence.) (to Estragon). (bending over Lucky). (Silence.) (Vladimir moves away.) (Lucky, laden down, takes his place before Pozzo.) (Lucky puts everything down, looks for whip, finds it, puts it into Pozzo's hand, takes up everything again.) (He jerks the rope.) (suddenly furious.) (Calmer.) (He jerks the rope.) (wild gestures, incoherent words. Finally.) (violently). (Silence.) (Pause.) (Pause.) (Less sure.) (Still less sure.) (He gets up painfully.) (He sits down again and tries to take off his boots.)
(Estragon, having struggled with his boots in vain, is dozing off again. Vladimir looks at him.) (Pause.) (He listens.) (He looks again at Estragon.) (Pause.) (Pause.) (Vladimir turns.)(Pause.) (he hesitates) . (Silence.)(softly). (he hesitates) (he hesitates)(he hesitates)(Pause. Vladimir advances, the Boy recoils. Vladimir halts, the Boy halts. With sudden violence.) (Silence.) (Pause.) (Silence. He looks at the tree.) (looking at the tree). (Estragon loosens the cord that holds up his trousers which, much too big for him, fall about his ankles. They look at the cord.) (Pause.) (Lucky's), (realizing his trousers are down).

I think that's pretty fucking cool.