Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts

01 April 2011

RE: LONG LOST FRIEND!

Indeed, “long lost,” but never in a moment forgotten! Throughout the span of a decade, with a mind tempered (or tormented) by “what-once-was” well-wishing nostalgia, remembrances and a deep longing desire to redeem the unearthly, unending exuberance of youth, I have often found my thoughts drifting towards you, my baby blue-eyed, porcelain-paled, lusciously lipped lil’ lady friend of times far past & gone. Indeed, “friend,” but oh so much and so many things more!

April Manteris, you were my Perestroika as Millennium Approaches; you were one above many of my arch-guardian Angels In America! How fitting that in my later, more recent life, I would battle with disease-induced malediction & delusions of messianic manic psychosis, much like the enlightened torment of Prior Walter told by Tony Kushner in his “Not-Yet-Conscious, Forward Dawning,” damned devilish drama staged as “A Gay Fantasia on National Themes.”


My own, personal, proprietary and unprecedented “Gay Fantasia,” told as follies of the mind and frailty of the body, was rife buttressed by more universal themes. In a demented state of holier-than-thou HIV/AIDS-instigated happenstance and insanity, I foresaw a full faith reconciliation of all conflicting religious around the world; the real-time cultivation of a post-apocalyptic, new-growth Garden of Eden; and my transsexual impregnation as an irrationally self-proclaiming, prophetic “Gift of God” with Christ Child incarnate.

Delusions of near godly grandeur galloped as chariots of fire along the strangely strung-out or awkwardly wrought and wired synapses of my parasitically enslaved psyche toward a new and evermore illustrious Elysian Fields. I was a hopeful, kindhearted and jubilant psychotic; not a criminally paranoid sociopath.

In my lonely, lachrymose, lunatic madness, I believed that all humankind would fall down under the watchful rule & gaze of intergalactic warring Angel/Alien brigades, led by Michael, Gabriel, Beelzebub, and Lucifer, only finally to be throttled full flight into a world far more beautiful, blissful and serene that anyone could have ever imagined before.

Funny thing for me though, during my drug-delayed, disease-induced delusional psychosis, I actually possessed the superhuman scope of mind and intellect to imagine the unimaginable as actual and real! What a harrowingly exhilarating experience! Moreover, you were there with me in spirit, all along the way.

For, I was convinced that you, April: my dream dancing “tell-it-to-snow” Eskimo named Harper Pitt, were suffering from a simultaneously paralleled, prophetic psychosis there, on your side of the world.

In my dreams, I imagined our union as beleaguered, but still sun-beaming and boisterous, biblical brethren, once each of us (and countless other young-spirited saints, psychics and soothsayers) had rightfully sown the heavenly seeds of a new beginning for our separate communities, cultures and societies on this dying-to-life, righteously reincarnate Earth of ours.

So much coincidental quizzicality has shaped the “nefand, sullen languid stories of my last-ditch, last-chance life,” including the serendipity of that first meeting of our two minds.

Our two submedially mature yet still quite sycophantic student souls were somehow, at some point, so mutually confounded, mesmerized and inspired by the truly enlightened intimacy we would go on to share, that we often (if I remember correctly!) smothered each other in self-obsessed, other-opposed & ostracized narcissism.

I fondly reminisce, remember and recall just exactly how we together, as the closest of friends, dealt only in the immaculate intimacy of trusted truth (or truthful trust). Tantamount to our unfettered ferocity of faith in one another, such truth tightly intertwined our hearts & souls together in both telltale-tangled threads of deliberately disgruntled dysfunction or malcontent malaise and sumptuously bittersweet stories of irrational, unreasoned, and misguided boy/girl romance gone awry.

Truth is, all throughout our first two years of undergraduate, I tormented myself terribly in confused and conflicted recognition of the dichotomically opposed binary between mainstream, most fortunate and “full-worth-the-effort” male-female love and its exact opposite: gay love, or “queer” love, since there was nothing “gay” about such love for me, during those years, or even ever after!

Truths is, that one occasion of my coming out that you so fondly remember in email, could have panned out in two very different ways; and trust me, when I say that you would not at all have been pleased by the alternate “outcome” of such proceedings!  WINK! WINK!

Oh! I should scream it from my rooftop! I’M IN LOVE WITH YOU, APRIL MANTERIS! I always have been and always will be! Never once have I not regretted the decision I made to proclaim my homosexuality to the world, because all that led to was me being pigeonholed in to a nasty, putrid, pestilent and perverse segment of society, where I subsequently succumbed to a lifestyle of depression, then deviance, then drugs, then disease, then delusions, then death, then disfigurement.

And, all that’s been done to me without my ever having witnessed once again the trusted truth (or truthful trust) of such mutually equitable & reciprocal platonic intimacy as we once shared, let alone anything remotely resembling the romantic!

So, that said, I’ll conclude in recognition of how immensely blessed I am to have found you meandering back into my life with such a generously opened mind and heart, with such forgiveness of the trifles of the past, and with such dignified poise, to reclaim our friendship from the exact point where we once left it off.

I welcome you into my life with widely opened arms, April! Moreover, I do ever so hope that we can rekindle that platonic intimacy that once existed between the two of us and that defined our very profound and beautiful friendship!  I look forward to a future with you in it, and I hope you do of me, as well…

With fond memories…
And, In fond regards,
Most sincerely…
Your dear friend,

Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA
[20110401T223247PT]

21 March 2011

Romance's Ripe New Reason...

Love Is Like A Flower by {peace&love♥}
Love Is Like A Flower | © COPYRIGHT {peace&love♥} | 23rd May, 2008 | ALL RIGHTS RESERVED.
Accessed March 21, 2011 by QHereKidSF (a.k.a. Matthew D. Blanchard) on Flickr®

Inspired by the well-wishing of a college mentor: Adjunct Theater Arts Professor & Acting Coach, David Doersch, whose warmhearted wisdom woven into a few simple words beamed bright as day in my mind, I read his "Happy SPRING to All!" message on Facebook, while sitting blinded by the light of my computer monitor in the dark of well-past dusk.

Despite the dark and dreary evening that has befallen & befogged
all of San Francisco, my heart & mind were filled with the warmth of the season by these, his welcoming words. And thus, such warmth, well-wishing & wisdom from such a distant friend & role model performance artisan or craftsman inspired in me a deep desire to express creatively exactly how I gladly envision the season to blossom into rebirth such beauty as romance in spite of ridicule, and love in light of sensually dew-dampened lust & longing.

What a beautifully bespoken first few lines of lyrical rhymes & reason
have I set to poetry, as my poem is presented here poised below a quite provocatively romantic photograph, which I found via a Flickr® Photostream™ Key Word Search of "buttercups." I am pleased to recognize the talents of an anonymous artist: peace&love♥, and to thank the photographer for making available their significantly sophisticated & valuable works of photographic art for blogging direct from Flickr®.

I do hope that in posting Love Is Like A Flower, I will earn a right to download
this particular image by permission of the photographer, him or herself, because I'd very much like to have this photo image at my disposal for future noncommercial & unaltered, shared-alike use. But, we'll just have to wait and see on the outcome of that such request. For now, I am still ever so proud at least to present the poem I wrote in response to David Doersch's Facebook® remarks and inspired by this photograph posted above.

SPRING! SPRING! What beauty this season brings
From slothful doted days to a few love-labored flings
That be right wondrous, yet ne'er more as pleasing,
As day’s blessed birth doth savor splendid seedling:
Few to many-petalled gorgeous golden blossoms
Of four-leafed clovers and buttercups so lithesome,
That doth glimmer, glow and shimmer as none before
Upon the tender-to-touch bosom in beauty’s open door
Of a fair merry-weathered, mischief-minded maiden
For whom the goodly fruits of spring be not forbidden.

Here upon doth the season's sweetly stunning affect
Forever bold and bravely full on forthwith reflect
The delightfully bright and brilliant sun’s fine speck
That doth in gleaming traces of sparkled beauty bedeck
Such sweet-nectar dew upon her delicately dimpled neck,
To be kissed off and caressed by a truly “très beau mec,"
As the only daring, dashing young dapper son "français"
Who doth so love, adore, long for and desire with to stay
The dewdrop damsel and her dazzling buttercup breasts,
As she, with toes dipped wet in water’s tiding crests,
Doth also long for and desire love — come what may!
Thus, so flowering, a fine romance is born this day!

Two lovers dance to life, in light of unending union,
The colorful reflections of romance's ripe new reason
Wound and woven, as a festive time-tinted silk ribbon,
Round the maypole, at the hands of all towns-children.
While the joking jester doth flagrantly flout Love’s luster,
His fickle halfhearted flaunter be echoed by such laughter.
Still yet two lovers dance ‘til lips tenderly touch as one,
Thus, their longed-for love doth live from dusk 'til dawn;
And be no more foolish, frolicsome, dumb nor dafter.
Than desire be that doth last still more ‘til then thereafter.

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

matthew@qherekidsf.com

http://www.qherekidsf.com
http://bit.ly/qherekidsf


San Francisco, CA USA

[20110321T200037PT]

11 March 2011

PHOENIX a'FIRE: In Rehearsal

When my application was accepted by SINS INVALID A.I.R. Program Director, Nomy Lamm, thus clearing way and confirming my participation in the inaugural 2010 SINS INVALID Artists In Residence (A.I.R.) Program, I found myself immediately embarking upon a long and exceedingly adventurous journey in discovery of perfection in performance-based self-portraiture through storytelling and song.

Little did I know then where it would lead me; however, I must say that truly I enjoyed every subtle step and bounding leap forward down that path I took from mere obscurity toward meager-to-maniacal celebrity, even if only within a very small, intimate community of disability activists and performance artists/aficionados, here in the Bay Area, alone.

The exact date that I happened to happen happily upon the NIEHS Sing Along Songs Children's Website and discovered their substantial collection of musical "midis" (i.e., simple, electronic instrumental versions of the vocal melody of a song recorded without audible lyrics, but rather with accompanying lyrics attached as text), I do not specifically recall.

Yet, I will not forget the tremendously joyous, spontaneous impulse of creative genius and pleasure that came to me when I fell serendipitously upon the musical midi of Alan Menken's "Part of That World," from the Disney masterpiece, LITTLE MERMAID.

Straightway, I knew just want I desired to do with this song. Thus, from that point just about a year ago today, when I did "stumbleupon" this particular melody and its lyrics, I endeavored to do meaningful justice not only to the song and songwriter himself, but also to my own audaciously bodacious and bawdy, unkempt, uncontrolled and unadulterated, quasimodo, quasi-grotesque, imperfect and ugly story of the destructive force of careless sexual device and drug abuse and my almost mythic – certainly, quite blessèd!! – rebirth as a "not hot, not well-endowed," but still quite sexual creature, deservedly so!!

With a spit-bit of pride, pomposity and yes, even perversion, I have the unique honor and privilege to premier a video recording of PHOENIX a'FIRE, a workshop rehearsal version of the song I performed as a live drag-burlesque musical number for the SINS INVALID A.I.R. Show: RESIDENT ALIEN.

Please be advised, as the title credits indicate, this video-recorded song is not intended for all audiences; the recommended minimum viewing age is 17 years. With PARENTAL ADVISORY, the video is given a Content Rating of NC-17, and all youth below that age are urged to seek parental permission before viewing this short webcam recorded musical video.

For those of my fans/followers who are of adequate age to view the film directly, I invite you now to enjoy a curiously compelling retrospective look back at my own creative process at work. And, I also encourage you, please, to share your thoughts on my original lyrics, as well as on the philosophy behind this "Musical Reconstruction," either by emailing me directly at matthew@qherekidsf.com, or simply by commenting directly on this blog post.

Otherwise, you also have the option of visiting my YouTube® Channel, where the video has also been posted for mass audiences and the world public at-large: http://youtube.com/qherekidsf. Please ENJOY!! Comments and feedback are duly encouraged! Thanks...


COPYRIGHT © 2011 QHereKidSF | ALL RIGHTS RESERVED
(recorded: San Francisco, CA USA; September 19, 2010)
PHOENIX a'FIRE
Lyrics: Matthew Blanchard
Score: Colleen Nagle
Presented by SINS INVALID
2010 A.I.R. Performance:
RESIDENT ALIEN

Look at my face! Isn’t it gross?
Wouldn’t you think 
I’m much worse off than most?
What do you think of my grin, 
so grotesque & frightening?
This is my story; secrets revealed…
If I had lips they’d be loose and unsealed.
Looking at me you must think, 
“Shit! He’s lost everything!”
True - - - - - - - - - - - - - - - 
I once had good looks & was handsome.
But, - - - - - - - - - - - - - - - 
I was a barebackin’ tweaker whore.
I often begged for big cocks, 
“Cum inside me!”
Truth be told! Shame on me! 
I want MORE!!
I wanna fuck raunchy, nasty and wild!
I wanna cock raw, wet, deep inside me!
My ugly face would be frightful for
Licking. Sucking. Bareback Fucking!
Wearing a mask I don’t get too far;
Lips are required for kissing, sucking.
Can’t fit my mouth 
‘round a cum-dripping cock!!
Me sucked! Bare fucked! 
Tweaked high! Me DIED!!
 
I smoked Tina first for the thrill;
I smoked her ‘til AIDS came for the kill.
Death had its aim; Meth was to blame!
Still I SURVIVED!!
As the myth goes, from ashes I rose
Like a great big fiery bird.
Nothing may spoil my heart unfurled
I’m a Phoenix a’FIRE!!
No I’m not hot! Not well endowed!!
But next to you, I can laugh & be proud.
Love me dearly! Do not fear me!
Dare just one glance at my pretty ass!
Just tell me… (spoken)
What is desire, and how does it 
What’s the word? – BURN?
Please hold me dear! Kiss me right here!!
My heart’s a Phoenix of DESIRE!!

January 28 & 29, 2011 at Mission Cultural Center
2868 Mission Street, San Francisco, CA 94110-3908
© 2011 QHereKidSF | ALL RIGHTS RESERVED.
Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
matthew@qherekidsf.com
http://qherekidsf.com
http://bit.ly/qherekidsf

San Francisco, CA USA
[20110311T010356PT]

25 January 2011

A LOOK BACK @ 18MTHS. OF HOPE!!

A LOOK BACK! At 60DAYS SOBER, ... I once concluded that "I JUST have an UGLY face." However, despite the devastation of disfigurement, I was/am still conscience & cognizant of the fact that my Seventh Chakra shines – Sahasrara : "The Thousand-Petaled Lotus" – "signifying & assuring QHereKidSF of his supreme consciousness & sublime connection to the cerebral, spiritual & physical worlds" (cf. http://youtu.be/gg8mjhUqSpw – below).


At 1YR. CLEAN, I affirmed "BEAUTY!" ... "But, only at God's speed. God willing" : the choice words Director Daniel Cardone & I used to frame the closing of CONSTRUCT, our "epic" (not in length, but rather in magnitude of reverberation & depth) experimental docu-short, filmed as part of The HIV Story Project's STILL AROUND 2010 compilation (Exec. Producer: Jörg Fockele; Producer: Marc Smolowitz), which together feature a day-in-the-life of 15 individual PWA (i.e., People With AIDS) protagonists.

Now, today... At 18.5MTHS. OF HOPE (not dope!), I take the stage in a short time to proclaim how indeed I am finally & once again ablaze with "DESIRE" : red hot & risen, redeemed & reborn; as a "PHOENIX a'FIRE" (cf. "Resident Alien" - the Sins Invalid Artists In Residence Show), who prances, dances and sings poemsongs of Paphian pleasantries, indulgences & delights...

As my Sins Invalid artist bio reads, I am: "grateful for God's boundless love of & faith in [my] own purely imperfect and human desire 'for elaborate beautification & solemn self-betterment" (cf. CONSTRUCT, 2011). "But, then again, I'll be quick to say: We live to die and die to live... Forever! Come what may." (cf. JEER NOT! FEAR NOT!!; "Resident Alien," 2011).

STAY TUNED!! for my "flagrantly unfettered" foretelling of a future full of fortitude, good fortune, and truly "fag-o-licious fabulosity" of face... SUBSCRIBE TO MY YouTube® CHANNELmindflux | matt(e)o | mayhem : http://youtube.com/qherekidsf.

Cheers! Ciao & Namaste...
Matt(e)o | QHereKidSF
Matthew D. Blanchard

matthew@qherekidsf.com
http://bit.ly/qherekidsf

San Francisco, CA USA
[20110125T071435PST]

11 January 2011

Alien Annuciation: Unearthing My Sacred Self

The following is a dramatic monologue I prepared for my SINS INVALID Artists In Residence "Resident Alien" Performance Showcase; however, this exact text will NOT be performed the evening's of the show. I therefore am now at liberty to share some of the copious work I have been preparing for performance during the last nine months for review by my peers. Please indulge me with your insights into this work; provide your own critical response and feedback, and I will be happy to take whatever you have to say to heart when considering revisions of the piece for future performance.
ALIEN ANNUCIATION:
Unearthing My Sacred Self
Fuck! Face it!! I’m a fagged-out, ferocious, Fog City funambule Freak Show — or Peep Show, depending on the scene [chuckles] — fabulously fucked in the head — HOLE! — for far too long [laughs outright]. FUN? For sure!! If by chance, you get some crazed, cracked-out, masochistic satisfaction from — OH! SO SAD! — strangely spiritual & surreal stories of catastrophic crystal-lined “Quarter-Life” crises, then maybe I’m your man!!

The mindflux & mayhem of this “MATTO” Matteo manifest as anxiety, manic depression, numerous non-specified personality disorders, coupled with devastatingly detrimental drug dependency and HIV/AIDS disease — BAM! Axes one through five, in no specific order!! My psychiatrists would all be proud. During the long-stretched syndrome of illness, disease & disorder that is my dismal, abysmal life, I was only ever once lost to languid torpor; torpor which turned out tantamount to torturous (i.e., id est… the ten to twelve days I laid unconscious, inactive & still; the skin & bone of my once boyhood beautiful face pressed flat, flush, firm & dying against a putrid, pestilent pillow).

Yet, for a time, prior to my tragically traumatic end, back before my whole “Fuck! Face it!!” mantra came into play, I once touted myself better than plainly pretty & princely. Back before my very real ruination ripped apart my smile; before antipsychotic psychotropics pretty much fucked up, tore down and all but annihilated my lachrymose libido, I spent my days super-speedy, sexed-up & salivating for raucously wild & raunchy “fag-fornication” – E, K, G… Crystal Methamphetamine sure’nough spewing from my sweaty, slimy skin!!

For lack of food, lack of sleep, but with no shortage of insanely over-indulgent fucking, I was led libidinally through a caustic, quixotic, voraciously vivacious and virulent six month schizoid-delusional messianic mania (i.e., id est… “crazed and cracked-out,” I told you!!). Here’s how the story goes…

After twenty-four-plus hours of positively preposterous unguided, temper-tantrumed and tweaked-out tantric yoga, I found myself falling flat on the floor from a backbend. In a glorious instance, I could both hear, feel and fear my mightily tight military neck flicker from firm to flaccid to flat with a couple of cracks and a crunch. 


Then, out of nowhere, but to my tearfully giggled and enraptured delight, the “cycloptic” serpentine energy force of my kundalini uncoiled itself three & 1/2 fold from deep within the pit of my scrotum, as if a cataclysmically massive monster cock was fucking me from bottom-end to top-end entirely. My phallic kundalini snaked its way like speed-lightening straight up my squarely smacked flat spine, erupting explosively through each of my leveled & loosely lain chakras. Past my shoulders. Into my head. All with a sparklingly celestial shudder of glee!!

My voraciously virulent kundalini energy force broke the blood/brain barrier with the cracking and collapsing of my never near too straight again neck, and was free!! At that moment, deep from within a blinding, brilliant light, I saw the rebirth and renewal of all life, the reunification and redemption of retaliatory religions of the World, embodied as a dying leafless triple-branched tree: a familiar scenic device of Beckett’s brain, symbolizing the existential nihilism inherent in “waiting for God…”

But, the tree at the center of my powerfully immaculate vision was quite unlike the grey, lifeless, hollow-trunked, death-determined tree that so thwarted the mindless meanderings of Vladimir and Estragon. The tree at the center of my celestial light budded a new growth, new birth branch with a single, glowing emerald green leaf which dripped dew of heavenly angelic gold from its tip.



Two Men Contemplating the Moon, ca. 1830
Caspar David Friedrich (German, 1774-1840)

Oil on Canas, 13 3/4 x 17 1/4in. (34.9 x 43.8cm)
The Metropolitan Museum of Art, New York,
Wrightsman Fund, 2000 (2000.51)
My kundalini force thrust me thankfully toward my heavenly father – at least, I’d hoped it would – through ungodly, goliath insanity and bliss. Thus began the potent perversion of my intellect, my psyche, as I set off on a profoundly esoteric and spiritually pious six month search for the “One,” Almighty God.

Six days to six weeks, I spent alone, shut up in my sparse, stark and sullen studio apartment, spiraling my insanity into a chaotic hoarded mess, savagely searching for God. No, I didn’t find him…or her…or them. Well, maybe them!! If you’re one to consider the sublime god force a pluralist spiritual entity, then I’m almost certain that my schizoid-delusional miscomprehension of individual life forces, as being all parts of a prophetically benevolent community of angel/aliens who had come calling for me as a veritable “MATTO” Matteo, would have intrigued and enticed both your own spiritual and intellectual curiosity.

So, I didn’t find Him (or “Her”) in my search for the Divine, but I did find my own angelic alien annunciation as a “Gift of God” : Matthew, for I believe with all my kundalini life force that during this six month psychosis, I was being suited by a community of angel/aliens for my god-given, divinely apostolic duty to proclaim to the World the imminent arrival of a purely peaceful, nonviolent, anti-diabolic Armageddon.

I was called upon, or so much I wholeheartedly believed, to return from the “deathspace” transexualized and impregnated with an angel/alien Christ-child to usher in the climactic rebirth, re-growth and cultivation of a global unifying force: a “Garden of Eden,” Elysian Fields, Les Champs Élysées leading into more than just a city, but rather into a World of lights, illumination, rapture!!

I speak of chakras and kundalini sparingly here; even though, these words as psychic phenomena seem to predominate my prose. But, don’t get me wrong! I’m a good faith, good Catholic, Christian boy of Franco-Polish Hebraic descent; therefore, the word “RAPTURE” should make more sense!

You’d sooner find me carving a Cherokee totem disparaging my colonial heritage as self-proclaimed proudly pompous, well-educated elite alum of Jefferson’s own “Alma Mater of Our Nation.” Hell! You’d sooner find me rigging a home-made I.E.D. car-bomb in my Fresno-based meth-lab storage garage while bowing toward Muslim Mecca – No, not GAY MECCA!! – as I pray in istikhara, and offer supplication for divine guidance on how best to cripple and destroy Judeo-American neocolonial forces.

You’d sooner find this white-bred, white trash, euro-mutt, slut, goy-boy American speciously boasting either indigenous or Islamic roots, rather than spiting my own just and good Judeo-Catholic heritage by following blindly the wisdom & stricture of Sanskrit/Hindi yogic faith teachings, if not just as a Eurocentric fad of the intellectual and spiritual post-colonial diasporas…

Yet, sadly still, contrary to my Judeo-Christian biblical heritage and learning – if even as a namesake, merely!! – I did neither see nor encounter my single almighty God, the Father: The Maker of Man, of me, of my mindflux, mayhem and misery. But, I swear on the last remnants of sanity and semblance of beauty that this mad, mad monstrosity of a man may have, I swear…

I saw something! Something real. Unimagined. Something immaculate. Holy. Sublime. In fact, I saw many things, which I remember vividly and in distinct detail, despite near half a decade of dutifully downing each dawn & dusk the fists full of psychotropics my doctors order me to take to keep pace of peace and order in my boyish, good goyish brain.

I could go on and on and on without a single smile – I could, and I should, but I wont! Anyway. – I could catalog… In fact, I HAVE cataloged pages and pages describing the many multitudinous manifestations of my immaculate enlightenment. I could retell my rapture. I could narrate my nirvana; translate my transcendence for you all – I could, and I should, but I won’t! Anyway…

And, why not? Because, trust!! You’d only spurn and scoff at my seemingly spurious, counterfeit, tall, tall torturous tale; even though, it be not torturous, but tender, touching truth!! Unless, of course, you are curious, and have come across us angel/aliens in our own right with open minds and open hearts, then there’d be no point in proclaiming the snippets of specifics of my all too perturbing albeit prophetic schizoid-delusional messianic psychosis.

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

Artist In Residence
SINS INVALID

San Francisco, CA USA
http://bit.ly/qherekidsf
[20110111T235237PST]

WordReference: La honte et l'apprentissage

Façons originales de traduire "CREATE THEATRE," et. al.
En réponse d'une demande de renseignements sur "THEATER" (c.f. MmePitchounette, Senior Member du Forum: Vocabulaire Français/Anglais, de WordReference.com), je vous offre de nombreuses traductions tirées directement de ma propre imagination. Quoique ces exemples soient tous exprimés en une voix formalisée de façon particulière, ainsi qu'en outre le français ne soit pas ma langue maternelle, il n'en demeure quasi pas moins que ces exemples restent valables et pourraient bien vous servir, peut-être. Voici, mes suggestions à vous (par l'ordre de priorité):

DISPLAYS THAT CREATE THEATER & BRING THE BRANDS TO LIFE...

a.) Portant un aura de mystique théâtrale, des étalages en insufflent un nouvelle force aux marques.

b.) Des étalages enveloppés de mystère du théâtre en insufflent une nouvelle force aux marques.

c.) Des étalages qui évoquent l'esprit du théâtre et en insufflent une nouvelle force aux marques.

d.) Des étalages qui créent une sensation théâtrale et en insufflent une nouvelle force aux marques.

e.) Des étalages qui donne naissance au théâtre et en insufflent une nouvelle force aux marques.

f.) Des étalages qui produisent l'effet du théâtre et en insufflent une nouvelle force aux marques.


Comme vous le pouvez voir d'après ces exemples, mon approche ou façon originale d'aborder une propre traduction de votre déclaration écrite comporte multiples tentatives de communiquer le même sentiment en diverses manières, par les activités d'éveil. C'est-à-dire, par le recherche, la découverte, l'expérimentation, le reclassement et le remontage des nouveaux mots de vocabulaire, on pourrait normalement réussir à trouver une belle expression éloquente qui se suffit à elle-même en tant qu'une bonne et propre traduction d'une phrase originale.

Si, dès le début, vous cherchassiez à dire/écrire votre phrase originale de manière le plus convenable: "Displays that create theatre and bring the brands to life," je maintiens une démarche assurée qui suggère que vous deviez tenter d'élaborer d'abord et puis accentuer d'une manière autant inédite que poétique votre usage de la langue française, afin de trouver "une bonne et propre traduction."

Une telle exercice serait non seulement un moyen d'arriver à vos fins, mais elle serait aussi un moyen de profiter de l'occasion d'approfondir l'aisance et la facilité avec lesquelles vous vous exprimez en français.

Voilà, ma philosophie pédagogique vis-à-vis l'apprentissage des langues étrangères:
La bonne pratique courageuse et aventurée d'un langage nouveau et expérimenté auquel on ne soit pas encore tout à fait très bien habitué, permettra aux apprenants d'approfondir leurs connaissances et capacités de s'exprimer en langues étrangères d'une manière la plus éloquente et raffinée que possible.

Il y aura certes quelques-uns parmi vous, les lecteurs et répondants de ce fil de discussion du Forum Vocabulaire Français-Anglais de WordReference.com, qui ne seront pas de tout à fait d'accords ni avec mes traductions suggérées, ni avec ma philosophie et mes conseils, étant donné que le français n'est pas ma langue maternelle.

Au moins je vous aurai fait comprendre et apprécier le résultat efficace, bienveillant et fructueux de ma méthode particulière pour déduire des pseudos belles et bonnes traductions alors que je possède au moins un peu de perspicacité et compréhension uniques et créatives de la manière dont NOUS: Les Anglophones Francophiles, pourrions le plus souvent arriver à très bien traduire une phrase de l'anglais en française (même si le français ne soit pas notre langue maternelle)!!

Bonne chance et bon courage, MmePitchounette... J'espère que tous ce que je viens d'écrire soient pour vous utiles et riches en renseignements. Vous trouverez certes de fautes lexicales et grammaticales partout dans celle-ci, ma petite rédaction sur ma propre méthode à moi d'acquérir et approfondir une meilleure connaissance de la langue française. Néanmoins ou malgré tout, j'espère ainsi que je ne fusse pas arrivé à me plonger dans l'embarras ni à me sentir gêné par mes plusieurs fautes. La honte est surtout l'ennemie de l'apprentissage!!

Cheers! Ciao & Namaste...
Cordialement,
Mathieu/Matt(e)o
__________________
M. Blanchard | QHereKidSF (San Francisco, CA USA)

19 November 2010

Love as MOVEMENT! Love as LIGHT!!

Plato’s Phaedrus & Racine’s Phèdre
When desire, having rejected reason and overpowered judgment which leads to right, is set in the direction of the pleasure which beauty can inspire, and when again under the influence of its kindred desires it is moved with violent motion towards the beauty of corporeal forms, it acquires a surname from this very violent motion, and is called love.
– Socrates (469-399 B.C.), ... in Plato, Phaedrus.
When_desire_having_rejected_reason_and_overpowered_judgment.
Dictionary.com. Columbia World of Quotations, Columbia Univ. Press,
1996. http://quotes.dictionary.com/when_desire_having_rejected
reason_and_overpowered_judgment
(accessed: Nov. 19, 2010)

I'm most familiar with the gut-wrenching, "violent motion" Socrates defines here as the transmutative movement of desire into so-called "Love," through my studies of the French neoclassical tragedian, Jean Racine, and of his exemplar piece of tragic theater: Phèdre (1677), a masterfully theatrical dramatization of similar dialogues on love, the soul, madness, divine inspiration, and the proper forms of art and rhetoric as found in Plato's Phaedrus (c. 370 B.C.).

Plato's use of movement as the main descriptive motif in this passage by Socrates fully respected the corporeal theater traditions (e.g., dithyrambic & choral dancing, pantomime, masks, etc.) of Ancient Greek Theatre. In Racine's Phèdre, however, light (i.e., sunlight, fire, flames, etc.) and darkness (i.e., shadows, veils, blindness, etc.) are the main motifs used to represent the transmutative eclipsing of desire by so-called "Amour.”

Racine toys with our sense of sight and sound, as he explores impassioned sanguine sexual drive, the blood-lust of maternal instinct, and the bloodlines of familial obligation, all through depictions of a furiously tormented tragic heroine who inches closer and closer toward imminent death just when prospects of incest surface as faits accomplis.

The following exerts of poetry from Jean Racine’s neoclassical masterpiece, Phèdre, offer decent textual references to and representations of the aforementioned motifs.

HIPPOLYTE
Il veut avec leur sœur ensevelir leur nom,
Et que jusqu’au tombeau soumise à sa tutelle,
Jamais les feux d’hymen ne s’allument pour elle.
(I.i.ll. 114-116)

In the first citation, HIPPOLYTE — Phèdre’s son by marriage, her peer in youth, and the man with whom she is madly in love — describes how the sole reason that his father, Thésée — king of Athens — took Phèdre on as a matrimonial conquest was “to bury” (ensevelir) the family name of Phèdre’s dead father: Minos.

Hippolyte goes on to explain how his father’s ulterior intention was to be certain that Phèdre submits to “his reign” (sa tutelle) as husband and king “until her death” (jusqu’au tombeau). Agonizing over the infamously vile and incestuous love he shares with his new mother, Hippolyte laments, “Never will the hymen fires shine bright for [Phèdre]” (Jamais les feux d’hymen ne s’allument pour elle).

OENONE
Vous-même, rappelant votre force première,
Vous vouliez vous montrer et revoir la lumière.
Vous la voyez, madame, et prête à vous cacher,
Vous haïssez le jour que vous veniez chercher ?

PHÈDRE
[…] Soleil, je te viens voir pour la dernière fois.
(I.iii.ll. 13-16, 20)

The second passage is a citation of dialogue between OENONE — nurse-maid to the new queen of Athens — and PHÈDRE which illustrates with very direct language the metonymical allusion to “maternity and the act of childbirth” (votre force première), or in the case of Phèdre, the act of breaking the maternal cycle by not being reborn to light again.

Oenone’s passage, which refers at once to “being shown and seeing light” (vous montrer et revoir la lumière): the light of impassioned love, concludes with a frustrated condemnation against Phèdre: “You see it, madame, and ready to hide yourself, / You hate the day for which you had just searched.”

This closing couplet of Oenone’s response to Phèdre’s plight represents an accusation against the new Queen that she is merely like a newborn child who squeezes her eyes shut to brilliant illumination (i.e., passion, life, etc.) in hatred of the day (i.e., daylight, light, life, etc.) that she was in fact just seeking.

Phèdre then responds, after three lines of erroneously omitted text, “Sun, I’m coming to see you for the last time.” In a very pointed and purposed manner, Phèdre renounces the sun (i.e., daylight, light, life, etc.) and essentially commits herself to death (i.e., darkness, blindness, veiled sight, etc.), for fear that her own furiously vile and incestuous passion would only cause her immense suffering in life.

HIPPOLYTE
Ma honte ne peut plus soutenir votre vue;
Et je vais…

PHÈDRE
Ah ! Cruel, tu m’as trop entendue.
(II.v.ll. 92-93)

The citation above is the exchange of dialogue between HIPPLOYTE and PHÈDRE which introduces, incites, and informs that which is perhaps the most masterfully written monologue of dramatic poetry in all of neoclassical theater (Phèdre, II.v.ll. 93-134).

This extrapolated, shared couplet represents the single most evident use of the motifs of sight and sound by Racine in the entire text of Phèdre. Coincidentally, it is the sound of Phèdre’s bellowed beckoning, which triumphs perniciously over Hippolyte’s own failed attempt to conscientiously object to the sight of his new mother-beloved.

I argue that the line: “Ah! Cruel, you have heard too much of me,” would definitely have ensnared the minds, thoughts and attention of any arrogantly aloof and detached aristocratic orchestral audience to the stage play, if played right.

The neoclassical theatre of 17th Century France was envisioned not as a théâtre du tréteau, but rather it was meant to be played on interior proscenium stages whose architecture was adorned with a garishly ornate & sumptuous decor of gold, whose scenic play space was dimly lit by candled footlights, and whose elite socialite & aristocratic orchestral audience was best lit by the brilliant glow from flames of a giant chandelier.

During the reign of Le Roi Soleil (i.e., The Sun King): Louis XIV, much emphasis, attention, admiration and accolades were lavished upon Aristocrats, who pompously paraded as living embodiments of neoclassical perfection amongst stalls of the orchestra and the loges of playhouses, such as Le Théâtre du Vieux Colombier or La Comédie-Française, for example. Rightfully so then, this audience of Aristocrats was cast in the brightest light.

If full attention was not being paid by ear to the languidly illustrious sonorities of Racine's dramatic poetry, then certainly an audience's eyes would be dully enthralled by the dazzlingly resplendent luminosity which cast a sublime glow over themselves. Thus, the carnal theater of la haute culture would play out in seats and aisles of la salle, while dramatic actors bellowed forth beautifully crafted rhymed couplets of dodecosyllabic alexandrins as inaudible room tone, in the shadows of a dimly lit stage.

The theatrical stage à l'italienne of 17th Century France was in all points of fact far more well-equipped than the contemporaneous playhouses of England, German and Spain. In fact, evidence has well been recorded into the timeless tomes of architectural history for the Neoclassical Age that depicts the Parisian playhouses of that period as touting many working innovations of scenic machinery.

One of these innovations, borrowed from the theaters of the Italian Renaissance, would have been ambient lighting overhung above the platform stage and behind the proscenium arch. As for the four state-commissioned theaters of royal Paris, it would have been possible therefore not only to dim and intensify the luminosity of these candled lights; but, with sheaths of heavily wax-coated and flame-resistant, colored paper, stage mechanicals of the time would have been able to create subtle changes in the tonality and hues of radiant light and shadows on stage.

When all was said and done, the théâtre à l'italienne of 17th Century Neoclassical France would have (and did) serve as the perfect creative space in which Jean Racine, Pierre Corneille et Jean-Baptiste Poquelin, dit Molière, could compose sumptuous dramatic poetry perfectly attuned to the stage, scenic & script conventions of that time.

In fact, I would even venture to argue that the poetry of Racine's Phèdre, ripe with allusions to the dramatic interplay of sight & sound, light & darkness, and life & death as representing the transmutative eclipsing of desire by "Love," was written for the specific 17th Century neoclassical lieu théâtrale in which it debuted: a theatrical space dimly lit o'er its actors, but brilliantly beaming o'er its elite socialite, aristocratic audience.

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA

http://bit.ly/qherekidsf
[20101119T180043PST]

10 August 2010

Star-Spangled KITSCH, by C. BROWN (1975)

"Camp mocks bad taste..." | Dictionary.com
In short, camp mocks bad taste; kitsch exploits it. Camp arouses our sense of the ridiculous, and we respond with amused tolerance. When we see Bette Davis or Ruth Gordon, fine if sometimes flamboyant performers relax their self-discipline and over-extend their acting technique in a superfluity of ineffective gestures �— finger-twitching and hip-switching, hand-rubbing or hip-protruding — we label the sum total as camp. Mae West, whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple.... Camp was also the stock-in-trade of Carmen Miranda, whose retina-searing Technicolor® get-ups, skyscraper headdresses bearing a season's fruit harvest, clomping platform shoes and garbled English projected in a voice that could be heard on Mars, all came together beautifully in her campy personification of Exaggeration. Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch.

CURTIS F. BROWN, "Is It Kitsch or Is It Camp?"
Star-Spangled Kitsch (Universe Books, 1975)

STAR-SPANGLED KITSCH
[Universe Books, 1975]
In his essay entitled, "Is It Kitsch or Is It Camp?" from his collection of short works entitled Star-Spangled Kitsch (Universe Books, 1975), Curtis F. Brown eruditely elucidates the defining distinction(s) between that which is "KITSCH" and that which is "CAMP," all in one cohesively concise construct of written communication, saying, "In short, camp mocks bad taste; kitsch exploits it."

Brown buttresses his thesis with reinforcing remarks and observations about four infamously celebrated female film performers of the early B&W turned Technicolor® era of American cinema: Betty Davis, Ruth Gordon, Mae West and Carmen Miranda.


The "kitsch/camp" theorist discusses in a mellifluously colorful and contemporary manner the conventions of that which is most distinctly "CAMP," pointing out that the flamboyant, quizzically quixotic & chimerical (Oh! Just call it straight up as it is: QUEER!) gesticulations and glaringly gaudy "get-ups" (i.e., accouterments, accessories, costumes, clothing, etc.) of these brazenly garish gals often served as parodic personifications and pasquinade of archetypal character traits, concepts, customs, behaviors or mores.


Mae West, for example, "whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple....," writes Brown, in his deliberately descriptive and constatively conclusive manner.


These parodist-performers personify not real or fictitious characters, personalities or people, but caricature in a conspicuously comedic fashion, with flagitiously flamboyant, frivolous fervor and right raucous, rambunctious repugnance, the conventions contrived of by our own seemingly sophisticated society, thus satirized it/us on stage and screen as "CAMP."


Were the performers actually in fact meant to interpret an historical personage, character or role writ from real life, the resultant (re)presentation would be ultimately defined as "KITSCH." Brown explains this distinct concept explicitly by referencing Carmen Miranda: "Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch."


Thus, then, and therefore, Brown describes two definitively dueling depictions of parodic satire "à la burlesque" and deems the two archetypal performance styles either distinctly "CAMP" or distinctly "KITSCH" (i.e., Brown's "kitsch/camp" thesis or theory).


I highly recommend to anyone interested in the study and/or performance of parodic satire "à la burlesque" by the infamously venerated female celebrity actors of the "Old Film" era or otherwise in the dichotomically "camp/kitsch" performances of contemporary female celebrity impersonators (i.e., drag queens!!) of the "Old School," at least to link to this abstracted quotation from Curtis F. Brown's definitive discourse on the dichotomic binary between all that is "CAMP" and all that is "KITSCH."


I myself find that this quotation intrigues the mind enough to motivate the reader immediately to seek out the source-text for further reading. I myself am going straight to the library today to check out
Star-Spangled Kitsch, by Curtis F. Brown, so that I might completely immerse myself in the study of this profoundly erudite performance discourse; thus, then, and therefore, to inaugurate finally my fanatically fervid, right reasonably well-directed and derived research into the art of drag performance and of female impersonators as entertainers, both historically and contemporaneously, or could be possibly even maybe more.... We'll see!!

Thanks Dictionary.com for having serendipitously set my path of discovery in the direction of this dichotomic "kitsch/camp" discourse, so that I might delve deliberately even deeper into the subject matter as it relates to the art(s) of DRAG!! I never knew nor thought that this so easily navigable virtual reference library would spur on my determined effort to educate myself so thoroughly, dutifully and delightfully, all at once...


"In short, camp mocks bad taste; kitsch exploits..." Columbia World of Quotations, Columbia University Press, 1996. 10 Aug. 2010. Dictionary.com http://quotes.dictionary.com/In_short_camp_mocks_bad_taste_kitsch_exploits.
 

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA
[20100810T094249PST]  

http://qherekidsf.yelp.com
http://transom.org/?p=8424
http://bebo.com/QHereKidSF
http://twitter.com/QHereKidSF
http://qherekidsf.blogspot.com
http://qherekidsf.myspace.com
http://qherekidsf.spaces.live.com
http://qherekidsf.stumbleupon.com
http://www.last.fm/user/QHereKidSF
http://www.youtube.com/qherekidsf
http://www.facebook.com/mblanchard79
http://wiki.answers.com/Q/User:QHereKidSF
http://www.flickr.com/people/mblanchard79
http://www.visualcv.com/matthewblanchard
http://www.linkedin.com/in/matthewblanchard
http://www.google.com/profiles/mblanchard1979



09 August 2010

Quotation by JOHN MILTON (1608-1674)

"What needs my Shakespeare..." | Dictionary.com
What needs my Shakespeare for his honored bones
The labor of an age in piled stones?
Or that his hallowed relics should be hid
Under a stary pointing pyramid?
Dear son of memory, great heir of fame,
What need'st thou such weak witness of thy name?
Thou in our wonder and astonishment
Has built thyself a livelong monument.
For whilst, to the shame of slow-endeavoring art,
Thy easy numbers flow, and that each heart
Hath from the leaves of thy unvalued book
These Delphic lines with deep impression took;
Then though, our fancy of itself bereaving,
Dost make us marble with too much conceiving,
And so sepulchred in such pomp dost lie
That kings for such a tomb would wish to die.
JOHN MILTON (1608-1674), On Shakespeare (ll. 1-16),
The Complete Poetry of John Milton, John T. Shawcross, ed. 
(1963, rev. ed. 1971) Doubleday.
JOHN MILTON (1608-1674)
www.rightwords.eu
[Artist/Date Unknown]

These few first lines of Milton's poignant, telling tribute to the pomp & circumstance in which Shakespeare's fanatic followers celebrate the canon of his creative works, argue in closing "that kings for such a tomb would wish to die" (l. 16). How properly and poignantly put!! Any latter icons of cultural and/or literary achievement sh/would find immense honor were they to acquire nearly just an ounce of the same sort of literary acclaim, stature or prestige as that right noble playwright, the irrefutably genius author of the Elizabethan classics in dramatic literature: Will. Shakespeare!!

Few have, can or could contrive to match the magnitudinous immensity of impact imparted by him, the superhuman hallowed hero of the written stage (dites: "SHAKESPEARE!!"), onto not his culture & society alone, but as well upon each and every dutifully devout and dioramic disciple cultures deliberately deemed admiring adherents or analogues to this genius progenitor to such sumptuously sophisticated literary style(s) of global generic scale.

Shakespeare was, has been, is still to this day, and for ever into the distant future will be considered by many (or else by all!!) not merely didaskalos of the dramatic literary canon, but the one true universally esteemed, accepted...and thus, unto vehemently adhered...argon eponymous (i.e., "patriarch" or "patron [saint]") of all obviously occidental traditions of theatrical poetry in performance.

John Milton succeeds so very well at eloquently enunciating the elaborately evocative and immeasurable magnitude of Shakespeare's influence on more than just the Theatre World, but on the entire Elizabethan (and post-Elizabethan) polis, in general, as well. Society would ne'er so well be such the same without the heavenly hallowed, consecrated contributions of our heuristically humble and unhubristic, sophron hero of the stage: Shakespeare.

And Oi!! Does Milton do him justice better than I!! ME? I.E., the garishly garrulous and spuriously specious simpleton, who here cites such less than simple sophistry as propitious pontification or mere petty platitudinous parlance of opinion on the matter!! How plainly plebeian and frivolous!! How flagrantly, flagitiously mundane my motivations be to ignominiously inculcate the already willfully well-educated multitudes in cyberspace, who, wincing at my execrably desolate, dissipated and laboriously loquacious declarations, want nothing of my nominally nefand expiation and atonement for the pseudo-propitiation of the quasi-eloquent (or far from so!), proudly pompous putridity of my pedantic prosaicism.

Pardon! Habit harangues me for the unfettered fetid fervor with which I phrase my constatively contrived conclusions. Lest Will Shakespeare would have been less loquacious, and if so, then far less stoically spurious in spirit and in saying as myself. So be it! Should anyone deem my licentious elocution worthy of two to three trite triflingly thoughtful remarks, then I unwincingly welcome ferociously fervid (better yet, much less flagrantly fallacious!) imprecation.

Bedamn me my blasphemy!! Deserved be I of your astutely acute abhorrence and anathemas against my arguably ill-aligned, airish and asininely alliterative assertions. I patiently await your counterpointed arguments, observations and/or opinions of my OH! SO! petulantly obsequious, sycophantic remarks.

"What needs my Shakespeare for his honored bones." Columbia World of Quotations. Columbia University Press, 1996. 09 Aug. 2010. http://quotes.dictionary.com/What_needs_my_Shakespeare_for_his_honored_bones>.

Abhorrently proud of my pedantry, yet still so...
Respectfully submitted,

Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA

[20100809T235056PST] 

http://bebo.com/QHereKidSF
http://twitter.com/QHereKidSF
http://qherekidsf.myspace.com
http://qherekidsf.spaces.live.com
http://qherekidsf.stumbleupon.com
http://www.youtube.com/qherekidsf
http://www.facebook.com/mblanchard79

WE MAKE A LIVING BY WHAT WE GET;
WE MAKE A LIFE BY WHAT WE GIVE.
Winston Churchill 

07 August 2010

YouTube® - DIRTY LITTLE MERMAID!!

UP WHERE THEY BANG. UP WHERE THEY BONE.
This ludic, lascivious and salaciously sex-ified, unadulterated pornographic version of Alan Mencken's Part Of That World from Disney's animated masterpiece "The Little Mermaid," is rife with explicitly raunchy content that is only tempered by the calm, quaint, quintessentially Mencken balladry of its melodic serenade, its tender timbres and tonalities. 

The new lyrics, apparently written and performed by a Brown University sketch comedy group "Out Of Bounds," strike the perfect chord contrary to the adolescent nature of the music, to create something quite perturbing, post-pubescent and like was said, pornographic. The explicit nature of the lyrics juxtaposed with the original score is strikingly hilarious, riotously ridiculous; it soils the tongue and wounds the ears with perfect antitheses... What an amazing PARODY!! I'd recommend it to anyone!!



http://youtu.be/sNYDpH0Jors, posted by Nuclearknight77 (Oct. 23, 2006)

"Betcha on land they'd understand, and they don't f*ck over their daughters!

Wouldn't I love, love to f*ck like they do up above!... 
What is gonorrhea and why does it (what's the word?) -- BURN?... 
What would I give if I could have a VAGINA?..." 
A perverse, ludic, lascivious rendition of Alan MENCKEN'S 
 Part Of That World, from Disney's animated masterpiece 
"The Little Mermaid," with parodic lyrics by Boston University's 
sketch comedy group "Out Of Bounds."


Care to catch a glimpse of / listen to a right ridiculously point-on teaser to my Sins Invalid A.I.R. performance piece?? While the "Out Of Bounds" version of Part Of That World remains loyal to the balladic tempo, rhythm, melody and tune of the original, my deconstruction of the song will be resoundingly more punk-rockish, given the background, proclivity & inclinations of my accompanist & composer: Colleen Nagle. Check her out at http://subamerica.org or @subamerica on Twitter®!!! 

Can't wait to debut Phoenix a'Fire!! Our even more ludic, lascivious, salacious, sickeningly perverse and pornographic version of this song. Wait for it!! We'll be showcasing our work at Theatre Artaud (San Francisco, CA) sometime in December 2010...

Respectfully submitted,
Matt(e)o | QHereKidSF

Matthew D. Blanchard
San Francisco, CA USA

[20100807T030327PST]

http://qherekidsf.yelp.com
http://transom.org/?p=8424
http://bebo.com/QHereKidSF
http://twitter.com/QHereKidSF
http://qherekidsf.blogspot.com
http://qherekidsf.myspace.com
http://qherekidsf.spaces.live.com
http://qherekidsf.stumbleupon.com
http://www.last.fm/user/QHereKidSF
http://www.youtube.com/qherekidsf
http://www.facebook.com/mblanchard79
http://wiki.answers.com/Q/User:QHereKidSF
http://www.flickr.com/people/mblanchard79
http://www.visualcv.com/matthewblanchard
http://www.linkedin.com/in/matthewblanchard
http://www.google.com/profiles/mblanchard1979
 

14 July 2010

"Language Or A Kiss" : YouTube.com

People like to tell me that I am a gifted writer; however, more often than not, I dismiss the compliment as shady, insincere flattery, nothing more than a mere measly attempt to win over my good graces and high esteem. I'm not easily moved to accept such praise as genuine; instead, I seem to enjoy being so cripplingly self-critical that I find flaw in nearly all of the creative work that I produce. Flagrant masochistic introspection and judgment are the most debilitating characteristics of my intellect.

Recently, I've gained a very acute, salient awareness of this fault of mine when I sat down to begin laboring over the writing of a narrative for the experimental documentary short film in which I will be featured as part of The HIV Story Project. As soon as I put pencil to paper, I arrived at a major road block. As Daniel Cardone, the director of my documentary short, expressed in his proposal of narrative beats for the film; he said (I paraphrase, albeit only slightly!), "How 'bout you tame up on the emphatic use of alliteration?"

YUP!! Semantic syncopation of syllabic constructs seems superficially smart; although, aggressively assertive, obtuse alignments of the Anglican alphabet in alliteration are ever so much more unabashedly awkward and asinine than astute or impressive. Alliterations heavily harangue the human ear e'er so often in my hand's writing as to be yet another aspect of my aimlessly affected artistic arrogance. AWFUL! I am more than mindfully aware...

So, I have to harness the potency of my "emphatically alliterative"
writing style to produce something coherent yet stylized enough to sound like spoken word when read aloud, when performed as narration. The challenge has proven ever so garishly gargantuan and heavy-weighted that I've been more apt to toss my text o'er my shoulder and shudder in exacerbated ennui than to scream excitedly in the act of forcing a fluid flow of whimsically written word on whatever pad of paper presents itself to me so pleasingly to be prettified by my elaborately eloquent enunciation.

YIKES!! There I go again! Can't you see? If crippling not be my self-criticisms then these confounded constructions of collected consonants ought clearly be called out as such: CRAP!!

Failing at first to find a friendly unfettered flow of thought from
my fabulously and freakishly flamboyant frame of mind to a much more mellow, mundane manifestation or monstrance of my mind's majesty e'er writ in words of wistful wisdom, I set out alternately to ponder and play with possible themes, motifs and concepts that could in effect guide my writing away from excess and more toward realism, or at least toward naturalism.

After speaking at length with Nomy Lamm, the Artists In Residence
(A.I.R.) Program Director for Sins Invalid, about my background, back story, and of the context in which arose the opportunity for my story to be featured as part of a compilation of short films commemorating the thirtieth year of acknowledgment of the Human Immunodeficiency Virus (HIV), I discovered my own overriding affinity for an idea that I had been incubating ever since said opportunity presented itself to me.

Today is a very important milestone for me. The Fourteenth of July
(i.e., Bastille Day!) marks the anniversary of my sobriety (i.e., my CLEAN DATE!), and to celebrate, I'm a convening the production of my experimental docu-short, lead by a superbly talented team of queer film production professionals all associated pro bono with The HIV Story Project. In fact, there only remains a few more than thirty minutes before their arrival to my home to begin shooting.

As I celebrate today my one-year anniversary of sobriety, I have
all but been able to ignore the crescendo'ed confluence of my creative energies and impulses around the progress of both my recovery and my reconstructions. All is explained in lucid detail by the video blog I posted to YouTube.com about ten days ago, entitled "Language Or A Kiss" after a beautiful acoustic ballad I discovered that morning, only after more than a decade of listening, on Indigo Girls' album 1200 Curfews (Live).

The ten minute home-made webcam movie features "yours' truly!"
pontificating the plentiful platitudes and prettiness of a poignant, powerful idea: that of using the foreboding, intimidating, meaningful act of kissing (Romantically, that is!!) as the central motivating action of my docu-short film narrative. The YouTube.com video explains in detail the significance of this convergence of energies and ideas. The webcam movie monologue also describes the profound meaning behind this particularly challenging choice around which I hesitantly aspired to shape a cinematic sketch of my life. My aim would have been to create a piece that might have touched, moved and inspired an audience perhaps to live safer,  healthier, more sane and sober lives be they suffering or not from either HIV/AIDS, drug dependency or disfigurement.






Language Or A Kiss: QHereKidSF (a.k.a Matthew Blanchard) contemplates the
convergence of his creative energies around his one-year anniversary of clean
time. With sobriety comes sanity and surety enough to explore either
"language or a kiss" both in experimental theater/film performance.
(i.e., http://sinsinvalid.org/; http://thehivstoryproject.org/; etc.)


[TIME ELAPSE] » As I type, my production team is shooting extreme closeups of the interior textures of my apartment. The cinematographer has just lifted himself from the crouched near-fetal position he took to "get lost in a bunny" rabbit knitted Christmas ornament that hangs from the cord of my venetian blinds, swaying ominously in a shadow of light just in front the sullied, dirtied retractable screen that props my window open. I'm not sure what they're filming now, as my back is toward them while they traipse around my studio capturing the phenomenally complex idiosyncrasies of my mundane, boring abode.

Turns out that my director, Daniel Cardone, hasn't yet had a chance to view the YouTube.com video I've posted above; so, in all likelihood, there will be no true central motivating action for this film narrative. We have no plans today to shoot me kissing anyone, and it is far too late in the game to go out on the street to find some random Polk Street callboy we could pay twenty dollars to try their damnedest at getting romantic while maneuvering their lips gently and with compassion onto my muddled monstrosity of a mouth. HAH! Could you imagine?

I've never simulcast the writing of a blog entry with live action. To be frank and forward, it's quite nerve-racking and unsettling. I wonder whether or not anyone in the room knows that I am writing about them as they toil around my studio on a voyage of cinematographic discovery

As I type, the warmhearted, bundled-up in a sweater and gloves, uber-zen sound technician is recording "room tone" with his boom microphone perched as ominously as my bunny rabbit just over my shoulder, so as to capture the sounds of my fingers tap, tap, tapping away on the keys of my laptop. I am terribly conscious of the fact that I tend to backspace a lot, which probably dashes his hopes at capturing a cohesive rhythm. Alas! Oh well...

"Alright! Stop. I've got another idea now...," says Daniel, the director, as our cinematographer completes a rack-zoomed extreme closeup of the grains of wood on my floor. Now, the production team is duplicate-framing a similar shot of the MUNI Metro & Busline map than hangs on the wall in the hall way next to my front door.

It is indeed a very good thing that as an artist, I've learned how not to be too utterly disappointed when one's vision is not wholly and fully adopted by every member of a production team. Blame the absence of a ironically romantic kiss between tweaked-out twink Polk Street callboy and my still quite sane and sober Skid Row mutant, monstrous, alien, Audrey II-like lips on the capricious whims of the film artist's mind. Although, unlike the sound technician's hopes which fizzled with the realization that I am not quite such a melodic typist, my dreams have not yet been dashed.

You see! I still have the theatrical medium with which to toy around salaciously and sexy-like. The kiss could still come to pass as I see it! I've got six long months to workshop scenes for Sins Invalid which perchance could center around this challenging, compelling, confrontational act of compassion and enduring, caring love. Those who follow me in the blogosphere must just wait patiently to hear word soon of the developments that unfold with my experimental ensemble performance work.

And in the meantime, both all of you and I must also patiently
await the post-production work on and premier of my experimental documentary short film, entitled "(TBD)!" If the work we have completed already today is any testament to the quality and caliber of Daniel's artistic vision, then I'd have to say that we are surely heading in a "positive" direction (pun intended!). A thousand thanks to Daniel, Jörg, Josh, and Doug: my production team! It's been a real joy working with you all. And so the work continues... Who's a Movie Star? I'm a Movie Star!!

Respectfully Submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
[2010.07.14@15:03PST]