Talk:Outrapo: Difference between revisions
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wrote the works for which he will always be known. In a College dominated by philosophers, professors, pedagogues, pedants, explorers, mamathematicianspoets, novelists and critics, the theatre itself remained a mere pretext and an abstraction .. . . |
wrote the works for which he will always be known. In a College dominated by philosophers, professors, pedagogues, pedants, explorers, mamathematicianspoets, novelists and critics, the theatre itself remained a mere pretext and an abstraction .. . . |
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Much work has been based upon Oulipian principles (carefully avoiding the cruelty of the |
Much work has been based upon Oulipian principles (carefully avoiding the cruelty of the word '[[constraint]]'), but we have also extended far beyond this into potential theatrical techniques of production - particularly |
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regarding Boolean Theatre, whose overlapping and interlocking Escherian architecture has enabled La Fontaine to rub shoulders with Tchekov; Ionesco hold hands with Hugo; Shakespeare to mug with Bruce |
regarding Boolean Theatre, whose overlapping and interlocking Escherian architecture has enabled La Fontaine to rub shoulders with Tchekov; Ionesco hold hands with Hugo; Shakespeare to mug with Bruce |
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Forsyth; Lorenzaccio (Sarah Bernhardt and Musset) to usurp Ubu (Jarry and Gemier amongst many others). The N ± 7 method applied to the dramatis personae has produced startling effects and a major project in |
Forsyth; Lorenzaccio (Sarah Bernhardt and Musset) to usurp Ubu (Jarry and Gemier amongst many others). The N ± 7 method applied to the dramatis personae has produced startling effects and a major project in |
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Revision as of 12:21, 27 October 2003
I agree with Paul A. who said, on the Talk:Tom Stoppard page, "What does it mean". I'm afraid my French is not good enough to work out what the original pages mean. What do the members do? What does the group do? Or is it one of those groups where if you have to ask what it does you've missed the point?
DJ Clayworth 00:49, 14 Oct 2003 (UTC)
- In the "Oulipo Compendium" one can find that (could somebody adapt this text for the Wikipedia article??):
The Outrapo is affiliated to the College of 'Pataphysics. Its co-founder, Stanley Chapman, Regent d'Epidictique of the College, describes its work in that context:
Although a founder-member of the Oulipo, it has always seemed to me far more necessary - pataphysically speaking - that there should be an ouvroir dedicated to the theatre in which Jarry performed and for which he wrote the works for which he will always be known. In a College dominated by philosophers, professors, pedagogues, pedants, explorers, mamathematicianspoets, novelists and critics, the theatre itself remained a mere pretext and an abstraction .. . .
Much work has been based upon Oulipian principles (carefully avoiding the cruelty of the word 'constraint'), but we have also extended far beyond this into potential theatrical techniques of production - particularly regarding Boolean Theatre, whose overlapping and interlocking Escherian architecture has enabled La Fontaine to rub shoulders with Tchekov; Ionesco hold hands with Hugo; Shakespeare to mug with Bruce Forsyth; Lorenzaccio (Sarah Bernhardt and Musset) to usurp Ubu (Jarry and Gemier amongst many others). The N ± 7 method applied to the dramatis personae has produced startling effects and a major project in rehearsal for the future is the production of A Hundred Thousand Billion Dramatic Pieces.