performing in the dance chorus and Eurycleia in Odyssey rock opera by Khamsina

movement-voice-mutuality

Through an osmosis of Grotowski’s ‘via negativa’ (Schechner and Wolford  239) and Gardzienice’s (Allain 1997, Staniewski and Hodge 2004) performance lexicon we constructed a score exploring the movement-voice-mutuality depending on breathing emanating from the solar plexus. 

Espousing the theatre-as-exploration model I pitched to Vickie and Kayleigh a question close to my heart: ‘is homecoming possible?’ Through an aleatory free-associative process we began to investigate our memories and whatever flickered through them; the root of the piece was based on our experiences and feelings. Accompanying this primary ‘text’ was Euripides’ ‘Women of Troy’ and ‘Ithaca’, by Dimitris Dimitriadis, a contemporary Greek playwright, which we adapted adding our own spin; also real stories of Sudanese refugees on the BBC’s website. Without at first knowing how this material would fit in, using our bodies as a 3-D metaphor of self-remembering and ‘homecoming’ (Steinman 13), we started connecting these threads up; originally in a hodgepodge way ‘smelling’ our way into the piece integrating movement, song, rhythm. 

We prepared a composition using discursive consciousness but aimed to enact it in Shaner’s ‘pre-reflective awareness’ (48) with no anticipation or over-determination of meaning avoiding any sentimentality (Zarrilli 197). In an equidistant triangular configuration offstage we started from Copeau’s ‘motionlessness’ (Rudlin 46) i.e. in an energized alert readiness. We then moved onstage in the space of our kinespheres using Gabrielle Roth’s Five Rhythms to release the body in order to find the voice through the layering of movement based on a cognizance of its parts. Each explored one rhythm for a stretch of time punctuated by a sound at which we all stopped awaiting that moment of deep listening to each other to spring us back into action with no extemporized dialogue. The primary task was to tell the story of our individual struggle in exile through motivating our movement devoid of unnecessary stylization. 

Breathing through movement without a psychological foundation facilitated our body-voice empathy so introducing speaking to further dymamize our physicality seemed a valid choice in our middle part. Improvised in terms of spatial and time sequential relationships our material included a locomotor change: cross-legged on the floor I started to speak the Ithaca extract soon to be joined by Vicky and Kayleigh, the echoing of our voices enabling us to create a corporality of our homecoming yearning. This litany of polyphonic repetition was accompanied by slight torso movement, our heads turning to look at each other as if to arrive at an interconnectedness/recognition through the subtle vibratory qualities of our voice. Embedding a Greek folk song sung by me broke this repetitive incantation off. Vicky joined in a drone while Kayleigh flew off into a solo of phrases evocative of home. This became the bridge for our final section where our movement material included us advancing in a phalanx uttering our chosen phrases. The main loci of activity were the feet keeping the syncopated tempo on the ground leading us to sing our text in unison. To conclude we see-sawed our pelvis-led bodies delivering our final line with the movement receding backwards as if in its fading divesting closure on our homecoming quest.

If Devising is an ensemble - often mnemonic - process of theatre made physically through ‘assembling, editing, and reshaping individuals’ contradictory experiences of the world’ (Oddey 1), then it is a process I wish to build upon; achieving an active cohesion through what was an episodic piece seems worth exploring further; as is finding the way into thought viscerally through the organic flow of physically-led speech/song, tapping into impulses, expanding our soft focus and movement vocabularies. This is the start in the journey of a creative ecology based on my experience of movement and voice as discovering in an orectic, kinaesthetically felt encounter prior to exegetical consciousness. 

The bodybrain finds through the hinc et nunc of 360-degree embodied praxis the life of the action and its psychophysiological impact; the lead is given to ad hoc intuition, consensus and bricolage rather that a priori aesthetic postulates; the meaning arriving not illustratively, through the physical responsiveness and the listening required to receive impulses via non-verbal channels of communication.

Indeed where we stayed awake trusting and in tune to a mutual pulse, there was an instantly shared feeling of smooth symbiosis. When that connection failed, the piece could no longer sustain its fluidity/clarity. 

If we were to do it again we would need to invest more rehearsing time in clarifying our found movement and in deepening our self- and shared awareness. Establishing a sustained relationship and momentum through orchestrating our voices and keeping the rhythm with our feet proved a real challenge. Sheer performing perseverance saw us through the awkwardness but staying connected and vulnerable with an innocently embodied presence behind which is that ever blazing ‘flame’ (Zarrilli 197) would be a perpetual quest rather than a finality for every future piece.

References

Allain, Paul. Gardzienice: Polish theatre in Transaltion, Amsterdam: Harwood, 1997.

Oddey, Alison. Devising Theatre, London: Routledge, 2006.

Rudlin, John. Jacques Copeau, Cambridge: Cambridge University Press, 1986.

Schechner, R and Wolford, L. The Grotowski Sourcebook, London: Routledge, 1997.

Shaner, David Edward. The Bodymind Experience in Japanese Buddhism, Albany: State

University of New York Press, 1985.

Staniewski, W. and Hodge, A. Hidden territories; The Theatre of Gardzienice, London

and New York: Routledge, 2004.

Steinman, Louise. The Knowing Body, Boston and London: Shambhala, 1986.

Zarrilli, P.  Acting (Re)considered , London: Routledge, 1997.

σωματικό θέατρο και σονάτα του σεληνόφωτος

Τετάρτη 19 Δεκεμβρίου 2012

Στo  πλαίσιo των «Θεατραναλογίων» του Γιώργου Χατζηδάκη και της ομάδας Θεώρηση στο CabaretVoltaire,  την Τετάρτη 19 Δεκεμβρίου θα εμφανισθεί για πρώτη φορά στο ελληνικό κοινό η ηθοποιός Δήμητρα Κρεπς, ερμηνεύοντας τη «Σονάτα του Σεληνόφωτος» του Γιάννη Ρίτσου. 
Η Σονάτα του Σεληνόφωτος του Γιάννη Ρίτσου,  ένα ποίημα για την απώλεια, για τον ίλιγγο του φεγγαριού, την φθορά, τη μοναξιά είναι από μόνο του μια ολοκληρωμένη δημιουργία.  Ο μονόλογος/ποίημα -  θεατρικός μονόλογος  μιας γυναίκας μιας περασμένης ηλικίας,  μόνης,  που «έχει δημοσιεύσει και δυο ποιητικές συλλογές θρησκευτικής πνοής» περιέχει  τις σκηνικές οδηγίες του -  τις έχει περιλάβει ο Γιάννης Ρίτσος στην εισαγωγή και τον επίλογο  - αλλά και τη μουσική του (Ακούγεται  -  υποδεικνύει ο ποιητής -  η Σονάτα του Σεληνόφωτος του Μπετόβεν, μόνο  το 1^ο μέρος.) Eν τούτοις, το κείμενο έχει παραδοθεί πλειστάκις σε αναγνώσεις – ερμηνείες που ενίοτε αποτελούν έξοχη ανα - δημιουργία επί του κειμένου.  Αυτό συμβαίνει και στην παράσταση της Δήμητρας Κρεπς (ζει και εργάζεται στο Λονδίνο όπου διδάσκει Ελληνική Λογοτεχνία στο Πανεπιστήμιο του Reading), που θα παρουσιαστεί αύριο στο Cabaret Voltaire  και που είχα την τύχη να παρακολουθήσω από κοντά χτες τις  πρόβες στην Αθήνα.

Το Σωματικό Θέατρο είναι μια από τις σύγχρονες  προσεγγίσεις στο θέατρο. Βασίζεται όμως σε πανάρχαιες παραδόσεις της Ανατολής και της Δύσης που αξιοποιούν τη γλώσσα του σώματος στις παραστάσεις, κάποτε εξ ολοκλήρου παρακάμπτοντας τον λόγο. Η προσέγγιση – σωματοποίηση της  Δήμητρα Κρεπς είναι το αντικείμενο της έρευνάς της στο μεταπτυχιακό της  του Σωματικού Θεάτρου στο  Central School of Speech and Drama όπου παρουσιάστηκε η Σονάτα του Γιάννη Ρίτσου σε Αγγλική μετάφραση. Δεν πρόκειται για εργασία μετάφρασης – μεταγραφής, αλλά ανάγνωσης, αντήχησης ένδον του λόγου,  συμμετοχής του άρρητου στην εκφορά του κειμένου.
Πρόκειται για ένα νέο έργο τέχνης, για ένα μόχθο της έκφρασης, μια προσευχή του σώματος πάνω και προς το λόγο του Ρίτσου.

Παρακολουθείται με κατάνυξη, με την ίδια κατάνυξη που διαβάζουμε το ποίημα. Είμαστε πολύ ευτυχείς που την υποδεχόμαστε  στο πλαίσιο των Θεατραναλογίων του Γιώργου Χατζηδάκη και της ομάδας θεώρηση. Η δουλειά αυτή  έχει την καλλιτεχνική υποστήριξη της Αναστασίας Ρεβή που ζει και εργάζεται όπως και η Δήμητρα Κρεπς στο Λονδίνο. Η επιλογή και η εισήγηση είναι της Πόλυς Χατζημανωλάκη και η ευθύνη της παραγωγής της «Θεώρησης».

Cabaret Voltaire. Μαραθώνος 30, Μεταξουργείο, τηλ. 2105227046, Τετάρτη 19 Δεκεμβρίου, 8.30. Είσοδος 10 ευρώ με ποτό.

Πόλυ Χατζημανωλάκη
http://waxtablets.blogspot.gr/2012/12/blog-post_19.html

Devising

Devising is “the art of losing one’s moorings to the familiar, a fruitful loss yielding a kinesthetic and associative form of awareness.” (Magnat 74), what Eugenio Barba calls ‘the dance of thought in action’ (qtd. In Williams Geographies 197) ; Following Anne Bogart devising combines ‘scavenging’ and ‘nesting’ (ibid. 198) of different elements such as space, light, bodies, language, sounds, objects, ideas, energies, images, rhythms etc. Performers in devising contexts are engaged physically, imaginatively, intellectually in composing and translating these elements using various strategies such as editing, layering, distilling, expanding. Devising “requires immersive belief and critical distance, a detailed engagement with part and whole, micro and macro; ...inside/outside, visible/invisible... In order for this work to take place at all, these paradoxes cannot be experienced as mutually exclusive and contradictory binaries.” (ibid. 202) They are rather like Bataille’s ‘good dualities’ (qtd. in Stoekl 268). 

To further illuminate Complicite’s key devising aspects I have consulted the company’s website. Firstly, finding and developing movement sequences through photographs is a generative devising tool because unearthing the dynamics of movement in a static representation excites the imagination and can lead to the development of complex movement sequences:

The aim is not to show what the photograph looks like but to express ... the atmosphere, weight, light, shadow, space and colour. [Photographs] are central to devising because they explore the creation of a physical text. They transpose a frozen image or object into a series of movements which exist in time. They can be a useful way to start talking about dramatic construction in microcosm. In these tiny pieces of movement theatre you can see progression, contrast, variations of rhythm, surprises, transformations of space and even character emerging.

Feldenkrais’s approach is explicitly echoed in the company’s movement work. In a very Feldenkraisean sense altering the body’s posture instantly alters one’s breathing. Altering one’s breathing immediately impacts on one’s emotional state. Tilting one’s head backwards, for example, will affect one’s vocal delivery and attitude. So this is a psychophysical approach where even tiny physical adjustments can help the actors explore the internal topography/landscape of a character in a much more imaginative way than just relying on psychological methods of acting. 

This of course requires extensive playing and experimenting. 

According to the ‘Teacher’s notes’ in the Complicite website: “Part of the pleasure of rehearsals is seeing a room transform from a bare space into a chaotic jumble of costumes, pictures and books. Finally the Company sift out what is needed, mark out the space and gradually a show will emerge”. This rather visual aesthetic requires that rehearsal phases are videoed so that nothing is lost; the company also looks at McBurney’s series of drawings which are often dark, expressive, bleak but they help the company members to see the direction he is taking in terms of a compositional architecture, dynamic and affect. There is a strong group ethos in all of Complicite’s rehearsals, and the company affirms the notion that “the most powerful research is that which can be experienced and explored as a group.”

Furthermore, McBurney’s father was an archaeology professor. Undoubtedly he had a marked influence upon him perceiving theatre-making in terms of choosing a site for an archaeological dig but post-structurally not aiming at unearthing a singular perpetual truth but rather as a vertical repetitive journey ambiguously rerooting and retracing the possible connections of several aggregated found fragments. “The decision of where to dig is based on a hunch: an idea that is informed by the immediate surroundings. When you start digging you will always find something.” Thus play and improvising are prioritized over finding a structure.  Once a story has been ‘found’ then the performers extensively improvise often with 6ft bamboos (reminiscent of Feldenkrais and Brook’s ensemble building approaches) so as to be bold and expansive in their movements. They use their bodies to find and explore both the physical and the emotional spaces of the story. Their characterization work involves not only movement but also various objects. Both are employed to discover how to create different atmospheres, emotions and tensions within their physical storytelling. Devising, therefore, amounts to “learning the language of space and time” anew within its story but using the same finite stock of primary materials such as the body, its movements as well as objects in a situation of controlled chaos.

It is often the exuberant playfulness or tragi-farcical physical virtuosity of this company’s performing bodies and the lightness of touch that serves as a vehicle for exploring serious existential and sociopolitical material within Complicite’s writerly narratives of mortality. 

"if you just sit on stage and do nothing, something will happen..."

Complicite: Origins, influences and early work

“I think of all theatre as music”, contends McBurney quoted in Igor Tornonyi-Lalic’s review (The Times, 13/11/2010). Oliver Jones would certainly agree with that as he has described Complicite’s/National Theatre’s Olivier production of Measure for Measure as a “continuous, cinematic orchestral score” (ctd. in Holland 326). Christina Patterson interviewing McBurney

 quotes Arthur Miller’s daughter Rebecca who upon seeing McBurney’s directing of All my Sons she said she’d never had “so many cathartic spine-tingling moments”. In the same interview, McBurney admits “I might be like a conductor, I collect the stuff together ... I find that theatre has an extraordinarily musical ability in the way it operates on the audience.” When he has a text that is not dramatic, “It’s chaos. The first thing you’ve got to do is put a bomb under it, or take to a halt and do something else.” (ibid.)

Its explosive physicality is part of its stagecraft, in itself “a form of authorship” director Pierre Audi suggests in a profile of the company in ‘across the universe’ theatre online forum

 where Simon’s brother Gerard, a conductor and music theorist, is also quoted: “Simon is a real theatre animal. I wouldn’t say he is intellectual. He smells his way into a piece, that is my experience of him, he will kind of stalk the rehearsal room and sniff his way into the text.” According to Tom Morris, formerly associate director at the National Theatre, McBurney uses the actors’ bodies as Shakespeare used text, as “imaginative triggers to release an image or memory capsule into the audience’s mind”.  (ibid.) The Complicite ethos is painstakingly and obsessively obsessed with visualizing and physicalizing every atom of the story. The name of this anarchic and nomadic company, (Theatre de) Complicite, itself encapsulates the visual and physical complicity between performers themselves and the audience: 

Complicité in French doesn’t have quite the pejorative meaning it does in English 

though I like the idea that it’s a partnership in an illegal action, that there is something wicked about it. It’s meant in the sense that when the audience watch the actors the sense of relationship between the actors on stage might be so intimate that with a bit of luck the audience might whisper to one another in the middle of the show:  ‘I bet they’re fucking each other’. (ibid.)

In his first show Put it On your Head (1983) with Fiona Gordon, they sat on deck chairs doing nothing for an hour-and-a-half in “an outrageously slapstick, largely non-verbal exploration of seaside etiquette [which] was played to small venues around Europe” (ibid.). As McBurney confesses: “I had a teacher who said that if you just sit on stage and do nothing, something will happen” (ibid.). His second show in late 1983 in England was about death, a very funny show indeed, and then More Bigger Snacks Now, “a satire of the greed and junk culture of Thatcherism, inspired by a Steve Bell cartoon”.  (ibid.) According to Igor Tornonyi-Lalic “McBurney and his Complicite troupe is the kind of company that can inject soul into a plank of wood. How? By exploiting almost every cut of theatrical and dramatic meat that’s available to them. Puppetry, shadow play, farce, constructivist videos ... the way to this freewheeling virtuosity was the usual brutal barrage of Complicite workshops.” (The Times, 13/11/2010).

Among his major influences McBurney acknowledges that of the Russian director Vsevolod Meyerhold. Mitter and Shevtsova point out the two Meyerholdian principles at play: (i) the internal outwardly, i.e. exteriorizing the interiority combining fantasy and theatricality; (ii) “a self-aware acting that generates humour, irony and reflexivity regarding the material or how it is performed.” (203). They go on to observe that apart from these principles Complicite references both ancient Greek and Shakespearean theatre. From these theatres it has developed its own symbolist sensibilities to underscore the surface structures of its theatrical projection, and a measure of economy and stylization which offers not only distilled imagery of larger more complicated phenomena but also implicates the audience. As already pointed out, the audience needs to be engaged so as to fill in and draw the necessary inferences to disambiguate or decipher what is often cryptically or ambiguously suggested on stage. Meyerhold was of course the first to make use of machine-like moving structures with platforms and whirling wheels, and his Biomechanics aimed at training the actors’ bodies so that they can also form dynamic, pulsating images, moving in unison and integrated with the rhythmic movement of Popova’s constructivist structures. (Braun 170) In addition to these Meyerholdean echoes, Complicite is also strongly influenced by the German dance-theatre director Pina Bausch, especially in that “movement is not primarily a matter of technique, virtuosity, or shape and image, but is a process through which human beings discover each other and themselves.” (Mitter and Shevtsova 174). Mitter and Shevtsova trace a number of borrowings from Bausch such as “underscor[ing] events with sound, musical or otherwise, instead of interpreting or illustrating them in any narratorial or psychological way”. (174) 

Furthermore McBurney’s own directorial style, following Mitter and Shevtsova, can be linked back to Russian director Lev Dodin’s “aliveness [...] which activates [the actors’] growth and sparks off a chain reaction from actor to actor to spectator” (201). It is an infectious and catalytic style in the sense that  it “prompt[s] actors to ‘dig’ through the layers of their existence - memories and subconscious experiences included ” (202)

. 

McBurney also draws on Peter Brook’s theatre languages at the core of which is the notion that “a play is play” (Mitter and Shevtsova 100). This aptly applies to McBurney whose approach also involves understanding the text not semantically but listening to the rhythmic patterns of the words and making sounds in search of the impulses behind the words. This is of course reminiscent of “Ted Hughes’s attempt [in Orghast] to fashion a universal language that would communicate by using the relationship between sound and emotion rather than words and meaning.” (ibid.). 

In addition, Complicite’s approach regularly incorporates object theatre, puppetry, music, film, video and electronic devices into his theatre pieces, conducting a veritable symphony of human and physical elements inspired by his teacher Lecoq and his pedagogy. Lecoq (and Brook) privileged practices of the ensemble, multi-headed story-telling, embodied lightness and disponibilité, complicitous play, journeying from motion to emotion, a corrosive and celebratory laughter, the creative agency of spectators, engaging with tempo, rhythm, musicality and the dynamics of space, some of the elements of a performance poetics as summarized by David Williams (Mitter and Shevtsova eds 248). 

Still, McBurney (1999) insists that there is no common approach to the company’s productions other than a flexing and toning of ‘the muscle of the imagination’ in search of ‘a moment of collective imagining’ (71). Recent projects tend to address topics of history, science, music and mathematics with a sense of wonder, always exploring—both physically and metaphysically—how we can remain connected in a dehumanizing technological world. According to David Williams all these varying aesthetics and dramaturgies combined with the filmic polyrhythms and modalities, as well as the critical intelligence of John Berger’s fiction, produce a unique contemporary Gesamtkunstwerk: “Within this synchronic form, the creative agency of performers and their bodies comprises the very foundation for a compassionate celebration of the extraordinary in the everyday and the marginalized, and an articulate humanist enquiry into a ‘politics of the imagination’ (McBurney 22).” (249-50)

Such a Gesamtkunstwerk would be impossible without that sharp trademark ‘devising reflex’ of this company; ensemble devising is a modus operandi or a mode of enquiry, but also a key component in Complicite’s poetics.

front is front

Laban inspired by the extraordinary movement pathways of chamois/snakes/eagles and by Platonic ideas about geometry reducing all four natural elements to tangible triangles from which four perfect solids were formed, tabulated the immensity of human movement within a space-conscious syntax of eight basic ‘efforts’1 i.e. the WHERE/WHEN/WHAT/HOW of muscular energy, not perfunctory but revelatory of felt inner impulses/tensions. Amodal per se (i.e. applicable to differing expression modes) these coordinates affect the semantics of movement within our kinesphere, our imaginary scaffolding of personal space within our reach. From the taught vocabulary we chose movements which resonated deeper with each one of us. We worked abstractly with no explicit imagery attempting to bound each phrase organically in the piece’s overall structure. Laban tried to recover the lost body language of man’s rhythmic instinct: scooping, a possession gesture, from the periphery of the surrounding space inwards to the bodycentre, and scattering, a repulsion gesture from the bodycentre outwards, two core action-shapes (em)powered by two primitive urges. In performing ‘gathering’ we felt under the skin why there is no such thing as dead/empty space while in scattering we experienced an explosiveness, Lecoq’s ‘éclosion’ (82). The kinetic sensing of these two spatial attitudes is a flowing bidirectional riverstream of communication running outwards to the periphery of our kinesphere and inwards to our centre. Through its everted and inverted coursing we establish a relationship with the inner/outer space. The sequence illustrates beautifully the effect of movement on the breath: breath out stooping down to gather and breath in lifting to scatter, a constant brain-diaphragm dialogue; as in music phrasing relates to breath, breathing this phrase is better than beat-counting. We then transitioned into the Gondoliers exemplifying Laban’s tenet about arc-moving bodyminds/‘Gestalts’. A successive upward arc-drawing movement around the vertical axis transfigured into a powerful fluid structure through visualised kinexperience of the contact between a pole and the ground bouncing us back, giving a subjective, psychosomatic colouring of movement rather than an objective/task-like. In the geotropy of movement the focal point here is feeling the movement in the softened sternum, the centre of levity (Laban 58). Stressing the successiveness further onto Sideways on the Door Plane, proceeding out monolinearly of the middle torso into shoulder, upper arm, elbow, forearm, wrist, hand, fingers, with the flow influenced by the order in which these parts are set in motion, first with a Glide (Direct-sustained-Light), sending/projecting the movement out into the space, then by changing the weight on R foot and the weight of the movement into a Press then a Float. Changing weight and direction the head turns engaging eyes and imagination (reminiscent of Feldenkreis), movement journeying beyond the fingertips. Introduced by Delsartes successions are of the highest expressivity, a wholeheartedness of movement which extends its spatial journey, its sensation of fluency well beyond its stopping/pausing, unfolding-folding the life-death cycle, involving the imaginary/physical/physiological body. Finding the spatial pathways in stance first with eyes closed we discovered that it unlocks the doors to expressivity as in the icosahedron, related to the Dim Scale, transubstantiating this harmonised sequence and counter-movement into an entire movement phrase. The icosahedron urged us beyond the kinesphere with a labile off-centre experimentation. The twelve points of all three planes corresponding with the 12 points of the icosahedron, Laban discovered it followed the ideals proportions encountered in the pyramids, the Parthenon but also in plant life and the human body. A press-glide-flick led us seamlessly to a ‘bomb and explode’, the expressivity from the outer limit of ‘bombing’ impulsing our exploding onto the wave, a 3D successive spatial exploration involving knees/hips/chest initiated by a pressure felt by the footsoles; performed in duets required attuning our shared transition from pressing back to lifting forward facilitated by an abdominal contraction/breathing out. At the heart of this sequence is the spine, affecting both shoulder and pelvic girdles, Lecoq’s ‘ondulation’ (82). Swinging also featured in the synchronised sequence experiencing the expressive quality of width which led us into a closed circle2, then an extended occupation of space in an L-shape arrangement followed by a solo areal movement informed by a selected body area and its skin surface. Renouncing psychologism Laban’s science and feeling for gesture and its dual (motion-emotion) as well as triadic (desire, feeling, knowledge) quality reintegrated movement- and word-thinking. His kinetography wording the unworded, resulting from a penetration into the world of silence can be seen/heard/imagined, an invaluable kinespheric ‘grammar’ and a metaphor for acting/dancing generating the invisible finer movement conversations. In mathematics/computing an algorithm is an effective problem-solving method using a finite sequence of well-defined instructions. Laban’s allocentric spatial approach (front is front) with its combinatorial set of possible permutations of the eight efforts is an algorithm for choreutic phrasing revealing the inner life shadowing movement, not its external shape-rhythms; the poetry of its diversified shades and undefined longings.

References

Laban, Rudolf, The Mastery of Movement on the Stage, London: McDonal & Evans, 1960. Lecoq,

Jacques, Le corps poétique, Actes sud-Papiers 1997.

McCaw, Dick, Making an effort, unpublished paper.