We’re opening tomorrow! And I woke up after maybe 4 hours of sleep, worried sick about how my sculptures were faring in the basement of The Epiphany and St. Mark Church in Parkdale. The one pictured here should have survived the night decently. How do you like it?
There was, or hopefully still is a taller, thinner piece that I made more in the vein of Expressionist sculptures — that one, I fear, is likely sideways by now. It wasn’t fully dry when I had to rush them both down to the space.
Technically, the problem is because I changed the construction approach. And I tweaked the materials formula a bit. (Why? Why. This is the question I am tracing & retracing – insomnia, to wit.)
I have a nagging feeling, however, that maybe this is also just a way for the forces that be to insist on me tweaking the sculptures some more. I had an idea or image come to me last night that might save the sculpture, or make a new version of it that might make it ever more interesting and unexpected.
Well, at 1pm today I will find out if and what needs to be done. I enjoy sculpting but it’s hard on the body, and it will mean one more day of my studio being in shambles from all the sculpting materials strewn everywhere and the industrial fans whirring another night. Woe is me.
(She is great. And she is an identical twin! Gotta dig up the program for the twins show we did to show her and her sister.)
Produced by Birgit’s Storm &nd Stress Company (formerly twinwerks, winner of the 2011 SummerWorks Prize for Outstanding Production, for Kaspar and the Sea of Houses by Felicia Zeller) and the red light district, Purgatory in Ingleton is part of the Toronto Summerworks Theatre Festival.
Purgatory in Ingleton (Fegefeuer in Ingolstadt) was written in 1924 by the first female playwright of modern Germany, Marieluise Fleisser, a muse and protégé of Bertolt Brecht’s and a brilliant writer in her own right. Her oeuvre eerily anticipated the fascist movements in Europe some ten years prior to Hitler’s rise to power. Fleisser relentlessly exposed the dynamics of small town life marked by intolerance, Catholic doctrines and pack mentality, and her work was promptly banned by the Nazis. She was silenced for decades by an oppressive marriage and financial restraints, before her work was rediscovered in the 1970s and suddenly revived across Germany and, soon after, in England. She is an iconic and still highly relevant voice in the German theatre landscape but has been pretty much ignored in Canada so far.