David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :
'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)
(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia. (2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.
The writer and theatre reformer W.B. Yeats will give a lecture at Molesworth Hall, Dublin, on the fourteenth of March 1903. Seats may be reserved. They gave me three seconds to say this, so: An actor’s only job is to enter the lives of people who are different from us, and let you feel what that feels like, and there were many, many, many powerful performances that did exactly that: breathtaking, compassionate work. But there was one performances this year that stunned me; it sank its hooks in my heart, not because it was good. There was nothing good about it. But it was effective and it did its job—it made its intended audience laugh and show their teeth. It was that moment when the person asking to sit in the most respected seat in our country imitated a disabled reporter—someone he outranked in privilege, power, and the capacity to fight back. It kind of broke my heart when I saw it, and I still can’t get it out of my head because it wasn’t in a movie; it was real life. And this instinct to humiliate, when it’s modeled by someone in the public platform, by someone powerful, filters down into everybody’s life, because it kind of gives permission for other people to do the same thing.
Meryl Streep, extract from her 2016 Golden Globes acceptance speech
For Yeats the personae — the Latin word for “masks” — voicing his poems are as meaningful and expressive as the poem’s words. This is why he looked back to ancient Greek models of “sung” verse and why he sought a modern literature in which form and content are indivisible, a quest he immortalized in the famous rhetorical question, “How can we know the dancer from the dance?”
And it is Yeats and dance — not Yeats and poetry — that takes center stage in the multimedia exhibition, Simon Starling: At Twilight (After W.B. Yeats’ Noh Reincarnation) at Japan Society, which explores the Irish poet’s debt to the formalism of Japanese Noh theater.
Mickey Mouse Mirror Mask House
A persona (plural personae or personas), in the word's everyday usage, is a social role or a character played by an actor. The word is derived from Latin, where it originally referred to a theatrical mask.The Latin word probably derived from the Etruscan word "phersu", with the same meaning, and that from the Greek πρόσωπον (prosōpon). Its meaning in the latter Roman period changed to indicate a "character" of a theatrical performance or court of law, when it became apparent that different individuals could assume the same role, and legal attributes such as rights, powers, and duties followed the role. The same individuals as actors could play different roles, each with its own legal attributes, sometimes even in the same court appearance. According to other sources, which also admit that the origin of the term is not completely clear, persona could possibly be related to the Latin verb per-sonare, literally: sounding through, with an obvious link to the above-mentioned theatrical mask. In the context of the social web, users create virtual persona which are also termed internet or online identities.
TAR Florence : pictured, a despondent replica of Michelangelo's David threatens to self-topple. Zealots of theFlorentine Truth-In-Art faction (offspring of Savonarola) mock the repro with "Jump!" and "Just do it!" A rescue party of Matrix Men (ex Angeli del Fango)rush to the aid of the facsimile with an image of Christ the Logos, Great Net and Savior.
Theatre of the Actors of Regard
The rest, as they say, is ...
Historia vero testis temporum, lux veritatis, vita memoriae, magistra vitae, nuntia vetustatis, qua voce alia nisi oratoris immortalitati commendatur?
By what other voice, too, than that of the orator, is history, the witness of time, the light of truth, the life of memory, the directress of life, the herald of antiquity, committed to immortality?