Edmond Chibeau looks at performance and theatre from the avant-garde communication perspective
- Name: Edmond Chibeau
- Location: Mansfield, Connecticut, United States
Thursday, December 05, 2013
Friday, November 22, 2013
New Wave Rocks Jorgensen
21 November 2013
by Edmond Chibeau
Of flailing arms and the bad man, he sings! New Wave rocker, more than a decade deep in a
New Century, makes the words sing. He writes
the history of desire with a poet’s soul, chooses just the right word, then
crushes it between his teeth.
Tone is not a simple matter of frequency. Tone is that elusive vibe that keeps us
listening even when we aren’t sure what we are listening to.
Elvis Costello sings the song he is singing, not the one we
are listening to.
The fingerprints on his reputation are all his own.
The music has a narrative and the words have melody. He translates his synesthesia so that we can
partake of that transformation with him.
He helps us taste the bitter sound of love gone cold. Communicates in living color the aural
disaster inside him and makes us feel it.
He says the theme for the evening is, “Love… betrayal, deceit and shame.”
He’s a bad man with a bad attitude and he makes good
They say all you need it three chords and an attitude. He keeps the attitude but he doesn’t stop at
Two hours and fifteen minutes. One performer. No intermission.The show started strong and got better and better. His aim is true.
The stage set is spare.
There were always 5 guitars behind him on stage, but they were often
switched out with the help of two roadie/stage managers. There was also an
electric keyboard but that wasn’t used until the encores. How many encores? I lost count but at least half an hour’s
Six down-lights on the cyclorama, and two signs: an “On Air”
sign mid-stage right, and a lighted arrow pointing to the wing mid-stage left. Two
large video screens mounted to the left and right that were fed by three
cameras. Nothing special by way of sets
and lights. This show is one performer
alone on stage, or it is nothing at all.
Elvis Costello played a wide range of songs and styles and kept us
If you want to know the name of the songs he sings, or the cords
he uses, check his website. It’s all
there. If you want to know how his music
feels then you’ve got to press your chest against his sound, let it vibrate
against your sternum. He’s on tour, go
Friday, September 27, 2013
A great book launch for Gathered Light: The Poetry of Joni Mitchells Songs last night.
Sponsored by the UCONN Co-Op at the Connecticut State Museum of Natural History. I was proud to be published with John & Lisa Sornberger, Wally Lamb, the Thread City Poets, and all the writers in the book. Among those contributors present were: Steve Starger, journalist, editor, musician; Nathan Wise; Daryl Perch, who took lots of pictures; Bessy Reyna; Patti Parlette, who, like me, wrote about Joni's song, "California." Terese Karmel; Barbara Martin LaFlesh; Winky Gordon; Willa Correnti; Patricia Wilson; June Bisantz, Jon Anderson; Felicity Harley; Kristen Round Groves; Alexander Mack; Maureen Croteau; Pit Pinegar; and Jill Bullock McAllister. A wonderful evening to celebrate a wonderful book about a wonderful artist.
Monday, September 16, 2013
Alison Knowles:The Big Book, 2013 Passenger Books. Berlin, Montreal 48 pp, 259 x 204 mms, hardcover.9 full-and double pg. color, and 24 full-and double pg. b/w illustrations. Sponsored by Stiftung Kunstfonds with VG Build-Kunst.
The body of the book is manifest. The incontrovertible is-ness of a page that is 8 feet tall and 4 feet wide imposes its own reality on the mind of the beholder. This book does not go away when you close the cover. This book does not go away when you close your eyes.
This book remains when you climb through the window on one page to the inside of the next page.
This book cannot be digitized. Moby Dick on a nook digital reader is MobyDick; “THE BIG BOOK” on a nook is a pale approximation, not even an avatar, but an image. To appreciate this book one must climb through it. Heavy reading. The Big Book, published by Passenger Books is a more reasonable size.
Is the “THE BIG BOOK” the book, and the book, about “THE BIG BOOK,” which is called The Big Book the book of the book?Is the book about “THE BIG BOOK” a book, and the “THE BIG BOOK” the book itself?
Is the original of the “THE BIG BOOK” (4 feet wide by 8 feet tall) the book qua book with the book called The Big Book (8 inches by 10inches) being the book of the book? And/Or is The Big Book (Passenger Press 2013) the book, while the “THE BIG BOOK” remains the original book, which is not a book of a book, but is indeed the book (hoc est enim corpus libri).
Who is speaking
in the George Quasha script in the The
Big Book? The script is titled, “The Book of Bean is its reading
A video by Edmond Chibeau (partial
Transcription), 11 min 47 sec”.
Is it Quasha qua
Knowles, or Quasha qua Chibeau, or Quasha qua Quasha. Perhaps the qua should fall to Herman
Melville, Jessica Higgins, or Hannah Higgins.
On page 30 Dick
“The Big Book is not in fact anything but an accumulation of
ideas about books. And, therefore, its
sculptural identity is not ultimately the most important. Coincidentally one good thing Alison has
suggested at one time was to make The Big Big Book and regard The Big Book as
only the study for The Big Big Book. The
Big Big Book would be 80 feet tall, which is ultimately ten times as large in a
On page 30 Dick Higgins says,
Alison Knowles is the bookwright and author; the reader’s body is the interpreter. The “THE BIG BOOK” is the script that we enact by walking through the pages.The Big Book published by Passenger Books is an extraordinary document of a work of conceptual art, a performance script, and a moment in Fluxus history.
Labels: Alsion Knowles, Bill Wilson, Cathy Malloy, Corrin Gerber, Dick Higgins, Emmett Williams, fluxus, George Quasha, Hannah Higgins, Nancy Stula, Passenger Books, Patricia Hickson, Siftung Kunstfonds, Will K. Wilkins
Tuesday, June 11, 2013
Joni Mitchell Gathered Light
In the 11 June 2013 edition of the Toronto Star Joni
“Some people like to call me a confessional
songwriter. … Yes, I often begin my songs on a personal level, but I hope they
go on to a bigger truth that transcends my experience. I’m not saying, ‘Look at
me look at me.’ It’s the exact opposite. I’m saying, ‘Look at you, look at you.
Are we not human? Do we not share these things?’ ” That is exactly what I was getting at in my article, “California:
Against Autobiography” in the new book, Gathered Light: The Poetry of Joni
Mitchell’s Songs. Edited by Lisa and John Sornberger
Friday, May 10, 2013
Andy Warhol+Taylor Mead = Art Performance
Taylor Mead Superstar and Human Being 12/31/24-5/8/13
“I want to heat up/ the spoon of your intellect/ to feed my sensuality,” says Taylor Mead in his 1968 book Taylor Mead On Amphetamine and in Europe.