What I initially wanted to do was write brief texts that by words and sound alone would set a scene and define an action--dialogues and sometimes monologues whose communication would at minimum be entirely acoustic and thus not need visualization. One reason why so many have erotic content is that no other subject seemed so opportune for the experience of two people who are heard without being seen. Much as my Epiphanies have been about the exhaustive experience of the experience of fiction, so these minimal audio plays are, in sum, fundamentally about the possibilities of concisely articulated verbal-acoustic creation.
INSTRUCTIONS TO PRODUCERS: Use as many of these texts as you wish, in any order you find appropriate. Feel free to select, as all need not be used, and to divide your selections into several groups of any length, as serialization would be appropriate. Since some texts also lend themselves to various interpretations, they may be repeated in individually different ways, within a single performance or over several performances. (The first play, for instance, could be done with both speakers sounding innocent or both sounding disingenuous.) Sound effects are sometimes specified here; other times, feel free to use whatever you think appropriate. Ideally each of these plays should have an acoustic ambience unique to it. Overlapping from different positions in the stereo spectrum should be considered. When two lines are separated into two paragraphs, that means there are two speakers who need no further definition. One way to define context is to consider these the kind of radio plays that Gertrude Stein might have written, had she been invited to work in the medium that was new in her times.
All performances should be reported to the author via his eponymous website.
INSTRUCTIONS TO PRODUCERS: Use as many of these texts as you wish, in any order you find appropriate. Feel free to select, as all need not be used, and to divide your selections into several groups of any length, as serialization would be appropriate. Since some texts also lend themselves to various interpretations, they may be repeated in individually different ways, within a single performance or over several performances. (The first play, for instance, could be done with both speakers sounding innocent or both sounding disingenuous.) Sound effects are sometimes specified here; other times, feel free to use whatever you think appropriate. Ideally each of these plays should have an acoustic ambience unique to it. Overlapping from different positions in the stereo spectrum should be considered. When two lines are separated into two paragraphs, that means there are two speakers who need no further definition. One way to define context is to consider these the kind of radio plays that Gertrude Stein might have written, had she been invited to work in the medium that was new in her times.
All performances should be reported to the author via his eponymous website.
