Exploration du corps de Riley
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Exploration du corps de Riley
Reference #6.26fc733e.1660964422.83a007b
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LADIES AND GENTLEMEN, YOUR ATTENTION PLEASE! Before we delve into the complex innerworkings of the Surrealist Mind, we must ensure that we are all on the same wavelength. You are cautioned to read the following definitions with care, lest you tumble headfirst into the raging sea of Surrealist oblivion:
Surrealism : “Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
Exquisite Corpse : Game of folded paper played by several people, who compose a sentence or drawing without anyone seeing the preceding collaboration or collaborations. The result is a collective work which, in theory, is free of the limitations we face as individuals. One person would draw the head, for example, while others sketched the upper body, lower body, etc. Together, the unique parts, make up an “exquisite truth” which could never be arrived at alone.
Automatic Writing : Surrealist technique which encourages spontaneous writing and urges the individual to transcend conscious preparation, hence giving the unconscious free reign. “Write quickly with no preconceived subject,” advised Andre Breton in his First Surrealist Manifesto, “so quickly that you retain nothing and are not tempted to re-read. The first sentence will come by itself, since it is true that each second there exists a sentence foreign to our conscious thoughts which asks only to be brought out in to the open. It is somewhat difficult to make a definite statement about the next sentence; no doubt it partakes of our conscious and unconscious activities at the same time, if one admits that the fact of having written the first sentence implies a minimum of perception. Besides, it should matter little to you. Here lies the greatest interest of the surrealist game.”
All that being said we must now say, LET THE SHOW BEGIN!
Unconscious thought. Collective Creativity. Automatic Writing. The Exquisite Corpse. All part of the Surrealist philosophy espoused by André Breton and his French comrades during the height of the movement in the 1920’s and 1930’s, these notions of transcending traditional logic in search of a higher “surreality,” are the main thrust of my proposed project. As I would like to explore in depth both the methodology of automatic writing and the Surrealist philosophy of collective creative enterprise as seen through the Exquisite Corpse game, my project will be composed of two distinct parts. The first, a critical essay on the technique of automatic writing, will focus on the philosophy behind it as well as its practical application. As primary sources, I plan to use The Magnetic Fields (A.Breton/P.Eluard), a collection of nine creative essays often cited as the first “pure” work of automatic writing , and Breton’s influential Surrealist Manifestos. Once I have grasped these elements, I plan to try my own hand at automatic writing and hope to include select excerpts.
Growing out of this study of Surrealist technique, the second part of my thesis will be a full-length play exploring the Surrealist philosophy of collective creative enterprise, most specifically, via the Exquisite Corpse game. A playful outgrowth of Surrealist philosophy, Exquisite Corpse recreates a sense of collective fate in a world where emotions and emotional afflictions are all too often isolating and individualistic. Throwing together five psychologically diverse characters into the centerfuge of a small town Surrealist group, I plan to challenge, via turns and twists of plot, the Surrealist philosophy that the Exquisite Corpse is in fact a form of liberation. Juxaposing Surrealist views against those of a staunch Christian Science contigency, I also plan to explore the animousity of many Surrealists against organized religion.
For as Breton himself conjectured, the forms of surrealist language are possibly “best suited to dialogue, when two thoughts confront one another, the one reacting to the other.” Using two surrealist dramas (“If You Please” and “You Will Forget Me”)as models, this project will give me the opportunity to explore the somewhat hazy realm of Surrealism in the theatre. In addition to utilizing traditional playwriting techniques such as those learned in my playwriting seminar last spring, I plan to use my newfound grasp of automatic writing to compose at least a portion of the play’s dialogue. Creating an intriguing dialectic between form and content, as well as the critical and the creative parts of my thesis, I will use surrealist technique (Automatic writing) to shape the dialogue of a surrealist play.
As the Surrealist movement was an artistic as well as literary phenomenon, the stage medium of my creative piece lends itself to the blending of the two disciplines via artistic stage decisions (i.e., lightening, blocking, costumes, etc.) Essentially what I envision is giving the play a distinctive “surreal” flavor, be it through, for example, juxaposing of “hot” colors with tragic action, the visual contrasts between characters or various elements such as backdrops and music.
This piece will explore how five individuals, brought together in pursuit of creative liberation from the limitations of reality, are drawn into a collective fate. Like strange, unanticipated pieces of a puzzle, each member’s distinct “unconscious works towards the creation of a single collective destiny. As the group finds itself tossed together in the flames of religious controversy, they discover that their actions are becoming more and more inexplicably linked. Like players in the game of Exquisite Corpse, each member is a driving force behind the final product, however horrifying or liberating it may turn out to be.
Hidden away in the rundown factory town of Sofolk, Kansas, where vocal labor unions and staunch Christian Scientists have run of local politics, the intellectual passions of psychologist Dr. Sandor Cenceinno and his Thursday night Surrealist Group have never created much of a stir. When a routine town hall meeting ends in vicious mud-slinging over the school board’s proposition to teach creationism as scientific theory, however, the soft-spoken psychoanalyst and fellow members, David Notting, Natalie Steadman, Riley Shohman and Christian Giaric, soon find themselves thrown head-first into a raging battle of religious passion. As the creationism debate gains momentum, media vultures flock into Sofolk, snatching up bits of the controversy as fodder for the nightly news. Threatened by the brigades of network big-wigs swarming into Sofolk, local journalist (and ex-Surrealist group member) Harold Humbold writes a scathing (if ill-founded) “expose” on the “fervent anti-religious sentiments” of Dr. Cenceinno and his Surrealist discussion group. As the town’s only psychological clinician, as well as visiting counselor in the local high school, Dr. Cenceinno is immediately decried by the more extreme of the Christian Scientists as trying to “corrupt” the community with his own insidious brand of psychoanalytical atheism. As Cenceinno struggles to regain his professional reputation, Riley Shohman, pulls the group further into scandal with his camera-pleasing oratories on the “obsessive” nature of religion, a view espoused by Freud and often cited by the Surrealists.
As the debate continues, the stakes continue to escalate, bringing into play the life of Garret Notting, the 14-year old son of the Church of Christ Scientist’s most vocal member, Kathleen Notting. Debilitated in a car accident at the age of five, Garrett suffers from a rare but treatable bone disease, prompted, many suspect, by the refusal of his parents to seek medical assistance following the accident on grounds of religious conviction. Though seemingly fated to spend his life with a limp, Garrett is a shy, cheerful adolescent who prides himself on his remarkable musical talent. When he accompanies his mother to one of the volatile town hall debates, however, Garrett finds himself involuntarily tossed into the spotlight as an opponent condemns his mother, arguing that, “Any woman who forces her child to suffer like that has no right to determine how we should teach our kids.” To complicate matters, the child’s father, David Notting is a two-year member of the Surrealist group and has long harbored doubts about the Christian Scientists, especially in regard to his son’s medical condition. Further embroiling the community in controversy, Kenneth Linsell, a local attorney, resolves to take up the case of young Garrett in bringing charges of negligence and child abuse against the Nottings.
Suddenly, on the eve of the courtroom trial against the couple, Garrett is found slouched over his baby grand piano, desperately gasping for breath and muttering incoherently. Three hours later, he is pronounced dead and cries of foul play quickly fill the air. Despite local authorities’ refusal to confirm any theories, sketchy bits of evidence are traced back to David Notting, the boy’s father. Given the tight link that has developed between the group members in the face of the past three months’ opposition, the entire Surrealist group soon becomes suspect and finds itself face-to-face with one of the most “surreal” collective fates ever, a virtual Exquisite Corpse come to life.
THE BIG FIVE: (below) Brought together through the Surrealist Group as prisoners of their unconscious and what they believe to be a certain predestined fate. The games and the theories they engage in at meetings are a means of liberation, of freedom. Despite this philosophy, however the characters ultimately discover that they are bound by the mutual fate they have created. Fo
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