We’ve been serializing Allen’s NAROPA lectures of late (more, much more, to come) so the presence of this “practicum” is (as it always was) really useful. Daniel Nester on We Who Are About To Die.com has a version (“June 3 1992, revised March 29 1995”) posted here .[2013 update – this link has, unfortunately, been taken down ( presumably for copyright reasons). We do hope to have a version of the practicum available on-line (again) sometime in the future]
Produced by The Adaptations Project on Sept 29 – Oct 9, 2011 at New York’s 4th Street Theatre.
Directed by Kim Weild and Performed by Donnie Mather. This multimedia memory play is a collision of Poetry, Video, Music, & Theatre. The production marks the 50th Anniversary of the poem’s publication.
501 – today is T.S. Eliot’s birthday – In ’58 Allen made him an honorary “Ignu” (“Eliot probably an ignu one of the few who’s funny when he eats”) – and three years later, in “Journal Night Thoughts” – “Eliot’s voice clanging over the sky/ on upper Broadway, “Only thru Time is Time conquered”
“The weight of the world/ is love/ Under the burden/ of solitude,/ under the burden of dissatisfaction/ the weight,/ the weight we carry/ is love”.
Since Ginsberg-tattoo postings seem (curiously?) among our most popular postings, what better way to celebrate the 500th posting here on The Allen Ginsberg Project than this – another posting of a picture of a “tat”.
Another “tat”, coming off of that same poem, may be viewed here.
Voices and Visions was a 13-part educational t.v. series (13 t.v. programs), produced in 1988 by the New York Center For Visual History and airing that year on public television. The programs attempted to explore, as they put it, “through interviews, archival footage, and readings, the life and works of some of America’s greatest poets”…”Each of the thirteen 60-minute documentaries focuses on a different American poet and attempts to present a biographical picture of the poets’ life and insight into the poetry they created”.
A short clip from an “historical interview” (with Barry Silesky), originally recorded in 1988 and re-edited in 2004, posted on the site of the Video Data Bank
“In 1968 52 percent of the American people had thought (that) the (Vietnam) war was always a mistake, according to Gallup. By 1968, the Left, with a majority behind it, was still saying kill the middle class, bring the war home, carry the Vietcong flag, and so offended the middle class they couldn’t lead the middle class out of the war the middle class were in favor of getting out, particularly, a couple
“In a few minutes… lets, see, when does this class end?…7.40?..we have one minute. I wanted to get back to one little Shakespeare to end. And it’s funny little sounds in a song from “A Winter’s Tale” that’s not too well-known. So I won’t try to explain what the reference in the play to the poem is. There’s a certain kind of funny lyric jumpiness, syncopation, in this:
[Anonymous – Portrait of A Lutenist, oil on canvas, French, c. late 17th century]
Campion 1567-1620. (Thomas) Campion, also, at this point, writing music, got interested in quantitative verse – vowel-length verse – as the measure for his poetry, and he is one of the great ears in English poetry. Most of these, or some of these, are songs. I’ll read the famous one(s) that you know mostly – “Rose-cheekt Laura, come/ Sing thou smoothly with thy beaweies/ Silent musick, either other/ Sweetely gracing/ Lovely formes do flowe/ From concent devinely framed;/ Heaven is musick, and thy beawties/ … Read More