By ROBERT HILL (EDITOR)' 'ALEX MARTIN (EDITOR)
Language:Chinese.MODERN POETRY (INTRODUCTION to fashionable ENGLISH LITERATURE ELT sequence) (map)
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Extra resources for Modern Poetry (The Cassell Introduction To Modern English Litrature )
10 For Baggs, representation itself is tied to spatial definition. All discourse is affected by an ability to spatialize. If linguistic concepts cannot be spatialized in retentive ways, Baggs cannot command these concepts. Her experience with language connects with Robert Wilson’s creative process in the spatial mapping of conceptual and linguistic thinking. When asked about his work (either in retrospect or with a current project), Wilson’s first response is to find paper and pencil to draw pictures of his ideas.
His construction of action sequences is often non-causal, involving instead an atemporal sequence of visual images. 16 Stage images are repeated in many of Wilson’s productions in lieu of causality, and their repetition becomes the only structural marker of continuity. Does this mean that Wilson creates all of his productions from an experiential knowledge of autistic behavior and perception? No, and I would never go so far as to argue that extreme. However, there are similarities, 8 THINKING SPATIALLY, SPEAKING VISUALLY homologies if you will, between this director’s methods and aspects of Knowles’s cognitive processes.
Pictures, sounds, and movement choreographed to look naturally mechanical are all texts of various bodies. Some of these body-texts are highly precise, some are naturally awkward, some display awkward precision and/or precise awkwardness. Room is made for all of these modes. When Wilson slows these movements down on stage, all motion takes on a ritualistic beauty. Entertainment is impossibly fused with purpose, and the simplicity of slow motion becomes incredibly complex with the closer scrutiny that slower movement demands.