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the moon cuts like pye, but not cherry
In our work we prefer asking questions to telling stories.
As a means to invigorate and cross-examine our current reality, our hystories, and our definitions of ‘self’ we peer through a disparate lens cultivating pockets: compartments longing to be filled, gaping holes between maybes, masked, and bound to their binding. We relate these pockets anatomically to that of the
sublingual space or potential space. It is here, at the tip of digestion, where transmogrification ensues. This evolution manifests as a series of states of possible beings and territories through live scenario. Traversing the possibilities of potentiality: the intermediary that rejects binary distinctions;
a space for kindling queer questing, celestial spaces, vulnerable and vital spaces where our yes- and no-oriented brains shake hands in corners with their opposites.
With one seed still steeping in our current reality, we wonder of this manifestation of could:
How do we actualize domains with the capacity for continuous becoming?
How do we voice such tempestuous exaltation?
In our work we recognize these striving spheres as a live scenario: environments enacted by formidable humyns, all parts of one entity and breathing a singular breath.
Performers, linked through laborious action devoted to the amalgamation of the whole, indwell para-lingual states.
Multifaceted, interconnected, inclusive, and fluid, these transmutable bodies exist within a space of alienation. Critical to its existence, these spaces are sensorially immersive, smells of yeasts, fruits, fruits of labor, of perspiration,
allow visitors to take part in transference. Thus, generating an autogenous system that challenges the social and physiological structures igniting our mistrust for the noxious macrocosm we inhabit.
A space terrified of becoming the sun, instead, basking under the moon.
In its magical orientation, night allows for these arcane spaces to both veil and reveal; un-locatable in time,
absent of gender distinction, and seizing neither a future nor past. Rather, digging within parts lost, suppressed, gaseous, and misunderstood discovering and depicting the things we cannot see
DYLAN\u27S JUDGMENT ON JUDGES: POWER AND GREED AND CORRUPTIBLE SEED SEEM TO BE ALL THAT THERE IS
This Article is presented in the form of an Indictment against judges brought by Bob Dylan, in the role of prosecutor. Indictment Part A contains a summary of Dylan\u27s allegations against judges. Part B is background information. Part C alleges Abuse of Power as indictment count one. Part D alleges Greed as indictment count two. Part E alleges Corruptible Seed as indictment count three. Part F contains the indictments conclusion. Finally, the article concludes with a Brady letter
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THE PERSPECTIVE OF INNOCENCE: A VOICE RECITAL FROM THE POINT OF VIEW OF CHILDREN AND OTHER CHARACTERS WHO DID NOT FULLY UNDERSTAND THEIR SITUATION
This thesis was a culminating recital in accordance with a music degree. It consisted of a one
hour solo voice performance that was accompanied by Bonnie Bird on piano. In addition, there
were three duets with singers Sebastian Alameda, Brianna Barnhart, and Jacob Walters which
required additional planning. For this recital, there are program notes which include background
information about the pieces and the structure of the recital, information about the composers,
and text and translations of foreign texts. The recital was themed around the innocence of
children, and consisted of music in the four themes of children’s songs, dreams, the breaking of
innocence, and young love. These themes center around different points of innocence or loss of
innocence, and create a cohesive recital reflecting on the desire of humans to relive childhood
moments
A Kiss of Jameson
Prose by Sierra White. First Place in the 2019 Manuscripts Prose Contest
From thin air : the creation of a new American musical
During the fall of 2011 and spring of 2012, each MFA candidate began work on solo theatre projects ranging in a wide array of topics and genres. The goal was not to present a complete piece of theatre necessarily, but begin work on a project that could continue as we left LSU. Instead of constructing a solo piece, the faculty and I agreed that I could begin work on a multi-actor script based on the concept of setting a collection of country songs close friends of mine wrote as a new musical. I would create the story, write as much of the script as I could, explore character development, and set and edit the songs. I would then summarize the story and character struggles, using my solo performance as an audience introduction to my work, telling the story, playing guitar and singing the songs of what I titled, Lonesome Time. This thesis will serve as a diary of sorts for my project and examine the connection and influence writing had on my acting
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