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John Wooden, 1910-2010 « Stop...

Clay Stromberger

5 Jun 2010 5 Jun '10

5:45 a.m.

A great teacher passed away today. http://nbcsports.msnbc.com/id/37522732/ns/sports-college_basketball/ Also a good piece in the NYT. cs Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726

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Pees, Robert

5 Jun 5 Jun

2:34 p.m.

New subject: Opinion: Wooden taught life lessons, players listened - College basketball- nbcsports.msnbc.com

Clayton, thanks. One of the advantages of being old enough to be labeled an "anciano" is that we had a chance to see Wooden's teams in live action. Now moving from the sublime to the ridiculous, I think the group might enjoy reading this critical pan of a movie that opened yesterday--Rosencrantz and Guildenstern Are Undead, a vampire variation on the Hamlet story: http://www.npr.org/templates/story/story.php?storyId=127351882 Best, Bob ________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [CSTROMBERGER(a)MAIL.UTEXAS.EDU] Sent: Saturday, June 05, 2010 1:45 AM To: weeklong-l(a)lists.wikimedia.org Subject: [Weeklong-l] Opinion: Wooden taught life lessons, players listened - College basketball- nbcsports.msnbc.com A great teacher passed away today. http://nbcsports.msnbc.com/id/37522732/ns/sports-college_basketball/ Also a good piece in the NYT. cs Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org<http://www.shakespeare-winedale.org> cell: 512-228-1055/ office: 512-471-4726 ____________________________________ IRS Circular 230 Notice Requirement: This communication is not given in the form of a covered opinion, within the meaning of Circular 230 issued by the United States Secretary of the Treasury. Thus, we are required to inform you that you cannot rely upon any tax advice contained in this communication for the purpose of avoiding United States federal tax penalties. In addition, any tax advice contained in this communication may not be used to promote, market or recommend a transaction to another party. The information contained in this e-mail message is intended only for the personal and confidential use of the recipient(s) named above. If you have received this communication in error, please notify us immediately by e-mail, and delete the original message.

Alice Gordon

6 Jun 6 Jun

12:40 a.m.

New subject: Update on scenes

Hi, everyone, Choosing scenes is taking us longer than we realized it would. If you would be so kind as to keep staying tuned! Thanks, Cheers, Alice for the Committee and Doc

Clay Stromberger

1:08 a.m.

New subject: Update on scenes

Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

...

Hi, everyone, Choosing scenes is taking us longer than we realized it would. If you would be so kind as to keep staying tuned! Thanks, Cheers, Alice for the Committee and Doc _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726

Alice Gordon

3:04 a.m.

New subject: Update on scenes

What excellent timing, Clayton. Oh, Peter Brook, oh oh oh. Love, Alice

...

From: Clay Stromberger <cstromberger(a)mail.utexas.edu> Reply-To: <weeklong-l(a)lists.wikimedia.org> Date: Sat, 5 Jun 2010 20:08:09 -0500 To: <weeklong-l(a)lists.wikimedia.org> Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

Mike Godwin

3:32 a.m.

New subject: Update on scenes

That Peter Brook passage is just great. Alice, I hope you and the gang are not agonizing overmuch over coming up with the perfect selection of scenes. My strong belief is that, with the folks we have here, any selection you all come up with will work. I believe that as a group the Committee (including Doc) will identify some great stuff for us to work on together, and I believe that the larger group of all of us is pretty great. (I know I am constantly excited and impressed with the folks we have here.) --Mike On Sat, Jun 5, 2010 at 8:04 PM, Alice Gordon <alicegordon(a)earthlink.net>wrote;wrote:

...

What excellent timing, Clayton. Oh, Peter Brook, oh oh oh. Love, Alice

came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater,

you

can turn the lines around. With Shakespeare, you can genuinely turn the

play

inside out. You can put the first scene last.... This is part of the

reality

of Shakespeare -- that, because it is like the real world, it has a

looseness,

an openness, which goes far beyond the vanity of strict form -- strict

form in

which the right word is stressed, as in Racine, for example, where he

imposes

his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't

produce

a finished product. Nothing of Shakespeare's exists until it's

performed....

A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a

logic,

such a dead-right, concentrated exactness in the way each card was

originally

defined, that all through history playing with a deck of cards has become

operation in the present. And whether today you are playing poker or

telling

a fortune, you are not doing an old-fashioned, historical enterprise. A

deck

of cards becomes a brand-new vehicle the moment you start to cut, shuffle

and

deal. A deck of cards has an infinite number of permutations, and yet every one

the permutations belongs to the reality of the deck, as well as to the

reality

of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has

total

identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done

by a

group of people searching for one thing only -- the re-creation of a

complete

miniature world observed by the members of a larger world (this is a

basic

function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon --

hmm,

those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote: > > Hi, everyone, > > Choosing scenes is taking us longer than we realized it would. If you

would

be so kind as to keep staying tuned! Thanks, Cheers, Alice for the Committee and Doc _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

_______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Suhler, Jayne

3:06 p.m.

New subject: Update on scenes

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

...

Suhler, Jayne

3:29 p.m.

New subject: Update on scenes

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

...

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726 _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Suhler, Jayne

3:42 p.m.

New subject: Update on scenes

("hot, gifted ladies of a certain age" would have been better.) Sent from my iPhone On Jun 6, 2010, at 10:29 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

...

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote: > Thank you, Clayton. I can only speak for myself (but I'll bet some > of you would agree), that as an anciano I am much better equipped > emotionally and intellectually to understand just how powerful and > true this passage by Peter Brook is. Mike is right. Don't sweat the > final scene list too much. Shakespeare in that barn - any line, any > word, any scene - will be right, will work, will be perfect. > Especially this time around. Jayne > ________________________________________ > From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- > bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger > [cstromberger(a)mail.utexas.edu] > Sent: Saturday, June 05, 2010 8:08 PM > To: weeklong-l(a)lists.wikimedia.org > Subject: Re: [Weeklong-l] Update on scenes > > Thanks for the creative struggle, Little Old Ladies of Winedale, we > have complete faith in you -- and in the meantime, here's a bit of > inspiration I came across today. > > > Peter Brook: > > > > Everything Shakespeare wrote was open-ended.... In Shakespearean > theater, you can turn the lines around. With Shakespeare, you can > genuinely turn the play inside out. You can put the first scene > last.... This is part of the reality of Shakespeare -- that, because > it is like the real world, it has a looseness, an openness, which > goes far beyond the vanity of strict form -- strict form in which > the right word is stressed, as in Racine, for example, where he > imposes his own, narrow, private world... > > (Shakespeare) produces dynamic, very concentrated material; he > doesn't produce a finished product. Nothing of Shakespeare's exists > until it's performed.... > > A pack of cards was invented at a certain period of history. > Millions of other things invented have fallen away, but a pack of > card has such a logic, such a dead-right, concentrated exactness in > the way each card was originally defined, that all through history > playing with a deck of cards has become an operation in the > present. And whether today you are playing poker or telling a > fortune, you are not doing an old-fashioned, historical enterprise. > A deck of cards becomes a brand-new vehicle the moment you start to > cut, shuffle and deal. > > A deck of cards has an infinite number of permutations, and yet > every one of the permutations belongs to the reality of the deck, as > well as to the reality of the people playing the game. > > Shakespeare can be understood as a vast human deck of cards that has > total identity, card for card, total concentration, but yet can be > shuffled and re-dealt in endless permutations in each place, in > each context, in each period of history. > > Now, if you say what is the result of dealing out this deck, it is > done by a group of people searching for one thing only -- the re- > creation of a complete miniature world observed by the members of a > larger world (this is a basic function of the theater) -- you can > see that there is no deck like Shakespeare's. The end result of > using that deck rightly is, in fact, a contemporary exercise.... > > > > (from "Conversations with Peter Brook, 1970-2000" by Margaret > Croydon -- hmm, those dates look familiar....) > > > cs > > > > > > > On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote: > >> >> Hi, everyone, >> >> Choosing scenes is taking us longer than we realized it would. If >> you would >> be so kind as to keep staying tuned! >> >> Thanks, >> Cheers, >> Alice for the Committee and Doc >> >> >> >> _______________________________________________ >> Weeklong-l mailing list >> Weeklong-l(a)lists.wikimedia.org >> https://lists.wikimedia.org/mailman/listinfo/weeklong-l > > Clayton Stromberger > Outreach Coordinator > UT Shakespeare at Winedale > College of Liberal Arts, University of Texas at Austin > www.shakespeare-winedale.org > cell: 512-228-1055/ office: 512-471-4726 > > > > > > _______________________________________________ > Weeklong-l mailing list > Weeklong-l(a)lists.wikimedia.org > https://lists.wikimedia.org/mailman/listinfo/weeklong-l > > _______________________________________________ > Weeklong-l mailing list > Weeklong-l(a)lists.wikimedia.org > https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Clay Stromberger

4:28 p.m.

New subject: Update on scenes

Hey, I got that from Alice... I imagined all of them wearing their big straw hats and sipping lemonade out on the veranda, talking Shakespeare.... But hot, yes... fear not on that one! c On Jun 6, 2010, at 10:29 AM, Suhler, Jayne wrote:

...

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

_______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726

Alice Gordon

9:29 p.m.

New subject: Update on scenes

Good god, it's 40 degrees where I am.

...

From: Clay Stromberger <cstromberger(a)mail.utexas.edu> Reply-To: <weeklong-l(a)lists.wikimedia.org> Date: Sun, 6 Jun 2010 11:28:49 -0500 To: <weeklong-l(a)lists.wikimedia.org> Subject: Re: [Weeklong-l] Update on scenes Hey, I got that from Alice... I imagined all of them wearing their big straw hats and sipping lemonade out on the veranda, talking Shakespeare.... But hot, yes... fear not on that one! c On Jun 6, 2010, at 10:29 AM, Suhler, Jayne wrote:

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

_______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Bruce Meyer

11:47 p.m.

New subject: Update on scenes

but it is 98 degrees here in Texas even now.... - I will do a little seminar on heat stroke in adults "of a certain age" and how to avoid it when we arrive for the week.

...

>> Alice Gordon <alicegordon(a)earthlink.net> 6/6/2010 4:29 PM >>>

Good god, it's 40 degrees where I am.

...

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

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Alice Gordon

7 Jun 7 Jun

1:42 a.m.

New subject: Update on scenes

Praise be ye gods. My no longer thin Texas blood definitely needs more advice, as your yourself, Dr Bruce, can attest from my first and I hope last ever hypoglycemic event mid-reunion 2000 performance.....

...

From: Bruce Meyer <Bruce.Meyer(a)UTSouthwestern.edu> Reply-To: <weeklong-l(a)lists.wikimedia.org> Date: Sun, 06 Jun 2010 18:47:33 -0500 To: <weeklong-l(a)lists.wikimedia.org> Subject: Re: [Weeklong-l] Update on scenes but it is 98 degrees here in Texas even now.... - I will do a little seminar on heat stroke in adults "of a certain age" and how to avoid it when we arrive for the week.

>> Alice Gordon <alicegordon(a)earthlink.net> 6/6/2010 4:29 PM >>>

Good god, it's 40 degrees where I am.

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote: > > Hi, everyone, > > Choosing scenes is taking us longer than we realized it would. If > you would > be so kind as to keep staying tuned! > > Thanks, > Cheers, > Alice for the Committee and Doc > > > > _______________________________________________ > Weeklong-l mailing list > Weeklong-l(a)lists.wikimedia.org > https://lists.wikimedia.org/mailman/listinfo/weeklong-l Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726 _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

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Bruce Meyer

2:42 a.m.

New subject: Update on scenes

we will be careful and caring with all constitutions from delicate to strong...

...

>> Alice Gordon <alicegordon(a)earthlink.net> 6/6/2010 8:42 PM >>>

...

>> Alice Gordon <alicegordon(a)earthlink.net> 6/6/2010 4:29 PM >>>

Good god, it's 40 degrees where I am.

(although I take exception to the phrase "little old ladies"...) Sent from my iPhone On Jun 6, 2010, at 10:26 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l- bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re- creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote: > > Hi, everyone, > > Choosing scenes is taking us longer than we realized it would. If > you would > be so kind as to keep staying tuned! > > Thanks, > Cheers, > Alice for the Committee and Doc > > > > _______________________________________________ > Weeklong-l mailing list > Weeklong-l(a)lists.wikimedia.org > https://lists.wikimedia.org/mailman/listinfo/weeklong-l Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org cell: 512-228-1055/ office: 512-471-4726 _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

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Mary Collins

6 Jun 6 Jun

3:45 p.m.

New subject: Update on scenes

Clay, Mike, Jayne, Thank you!! Mary ----- Original Message ---- From: "Suhler, Jayne" <jsuhler(a)mail.smu.edu> To: "weeklong-l(a)lists.wikimedia.org" <weeklong-l(a)lists.wikimedia.org> Sent: Sun, June 6, 2010 11:06:05 AM Subject: Re: [Weeklong-l] Update on scenes Thank you, Clayton. I can only speak for myself (but I'll bet some of you would agree), that as an anciano I am much better equipped emotionally and intellectually to understand just how powerful and true this passage by Peter Brook is. Mike is right. Don't sweat the final scene list too much. Shakespeare in that barn - any line, any word, any scene - will be right, will work, will be perfect. Especially this time around. Jayne ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu] Sent: Saturday, June 05, 2010 8:08 PM To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

...

K. Kern

2:24 p.m.

New subject: Update on scenes

thanks clayton. you and peter really are a slice of inspiration! stan, one of the L.O.L.O.W ---- <weeklong-l(a)lists.wikimedia.org> wrote:

...

Thanks for the creative struggle, Little Old Ladies of Winedale, we have

complete faith in you -- and in the meantime, here's a bit of inspiration I came across today.

...

Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater,

you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world...

...

(Shakespeare) produces dynamic, very concentrated material; he doesn't

produce a finished product. Nothing of Shakespeare's exists until it's performed....

...

A pack of cards was invented at a certain period of history. Millions of

other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal.

...

A deck of cards has an infinite number of permutations, and yet every one

of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game.

...

Shakespeare can be understood as a vast human deck of cards that has total

identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history.

...

Now, if you say what is the result of dealing out this deck, it is done by

a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise....

...

(from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon --

hmm, those dates look familiar....)

...

cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote: > > Hi, everyone, > > Choosing scenes is taking us longer than we realized it would. If you

would

...

K. Kern

4:36 p.m.

New subject: Update on scenes

sooo very true jayne.... xoxox stan ---- Suhler, Jayne <jsuhler(a)mail.smu.edu> wrote:

...

("hot, gifted ladies of a certain age" would have been better.) Sent from my iPhone On Jun 6, 2010, at 10:29 AM, "Suhler, Jayne" <jsuhler(a)mail.smu.edu> wrote:

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JOY MARVIN

7 Jun 7 Jun

5:35 a.m.

New subject: Update on scenes

Hey young whippersnapper albeit brilliant...... "Little Old Ladies is long hand for COUGARS!!!" I think all the input has been great.....the Peter Brook words amazingly inspiring and I agree with Jayne.... 'our play is preferred'......whatever we do, the dust and beams in that old barn is saturated in Shakespeare. I look forward to our rehearsals, most obscene and courageous..... Love to all! Joy ----- Original Message ----- From: Clay Stromberger<mailto:cstromberger@mail.utexas.edu> To: weeklong-l@lists.wikimedia.org<mailto:weeklong-l@lists.wikimedia.org> Sent: Saturday, June 05, 2010 8:08 PM Subject: Re: [Weeklong-l] Update on scenes Thanks for the creative struggle, Little Old Ladies of Winedale, we have complete faith in you -- and in the meantime, here's a bit of inspiration I came across today. Peter Brook: Everything Shakespeare wrote was open-ended.... In Shakespearean theater, you can turn the lines around. With Shakespeare, you can genuinely turn the play inside out. You can put the first scene last.... This is part of the reality of Shakespeare -- that, because it is like the real world, it has a looseness, an openness, which goes far beyond the vanity of strict form -- strict form in which the right word is stressed, as in Racine, for example, where he imposes his own, narrow, private world... (Shakespeare) produces dynamic, very concentrated material; he doesn't produce a finished product. Nothing of Shakespeare's exists until it's performed.... A pack of cards was invented at a certain period of history. Millions of other things invented have fallen away, but a pack of card has such a logic, such a dead-right, concentrated exactness in the way each card was originally defined, that all through history playing with a deck of cards has become an operation in the present. And whether today you are playing poker or telling a fortune, you are not doing an old-fashioned, historical enterprise. A deck of cards becomes a brand-new vehicle the moment you start to cut, shuffle and deal. A deck of cards has an infinite number of permutations, and yet every one of the permutations belongs to the reality of the deck, as well as to the reality of the people playing the game. Shakespeare can be understood as a vast human deck of cards that has total identity, card for card, total concentration, but yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history. Now, if you say what is the result of dealing out this deck, it is done by a group of people searching for one thing only -- the re-creation of a complete miniature world observed by the members of a larger world (this is a basic function of the theater) -- you can see that there is no deck like Shakespeare's. The end result of using that deck rightly is, in fact, a contemporary exercise.... (from "Conversations with Peter Brook, 1970-2000" by Margaret Croydon -- hmm, those dates look familiar....) cs On Jun 5, 2010, at 7:40 PM, Alice Gordon wrote:

...

Hi, everyone, Choosing scenes is taking us longer than we realized it would. If you would be so kind as to keep staying tuned! Thanks, Cheers, Alice for the Committee and Doc _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org<mailto:Weeklong-l@lists.wikimedia.org> https://lists.wikimedia.org/mailman/listinfo/weeklong-l<https://lists.wi…

Clayton Stromberger Outreach Coordinator UT Shakespeare at Winedale College of Liberal Arts, University of Texas at Austin www.shakespeare-winedale.org<http://www.shakespeare-winedale.org/> cell: 512-228-1055/ office: 512-471-4726 _______________________________________________ Weeklong-l mailing list Weeklong-l@lists.wikimedia.org<mailto:Weeklong-l@lists.wikimedia.org> https://lists.wikimedia.org/mailman/listinfo/weeklong-l<https://lists.wi…

Robert Jackson

3:44 p.m.

New subject: Update on scenes- wiki-leaki

There is a rumor (can't divulge my sources) that an Ur-List exists but has not been approved for final publication by the Council of Nicea; I heard that 300 versions have been burnt thus far. (Cheese-it, Old Lady Gordon is listening!) May I take this moment while everyone is idling their motors in fumes of Brook and sportsfigures, the hotness and coolness, the hereness and nowness to announce the purposed creation of an Independent Studies program at the reunion? The IS program will consist of work on scenes of our whim carried out in whatever time not devoted to "The List" (which of course I love and worship whether it exists or not), and these few scenes, these happy few, are not necessarily for any of the publicized performances. But closed, experimental, in secret. ". . .yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history." Gnothing gnostic. Just idling my motor. Hail Constantine!

Mike Godwin

10:59 p.m.

New subject: Update on scenes- wiki-leaki

I am 100-percent behind every part of Robert's message that I understand. --Mike On Mon, Jun 7, 2010 at 8:44 AM, Robert Jackson <rjax(a)netcom.com> wrote:

...

Robert Jackson

8 Jun 8 Jun

3:07 p.m.

New subject: Update on scenes

Thanks Mike. Watching hours of live feed from the BP spill cam has apparently taken it's toll on my sanity. Whoever said "Waste is a terrible thing to mind." was wiser than he knew. In no way are the deliberations of Doc & the 6 G's comparable to a 4th century Bishopric smoker. The influence of the latter has lasted a mere 1600 years, that of the former could well go beyond Labor Day. Play. Is what Winedale does. And (sigh) I've discovered... Lasts. And lovely Alice Gordon is not a mean hall monitor. That is all. -Jackson ----- Original Message ----- From: Mike Godwin To: weeklong-l(a)lists.wikimedia.org Sent: Monday, June 07, 2010 6:59 PM Subject: Re: [Weeklong-l] Update on scenes- wiki-leaki I am 100-percent behind every part of Robert's message that I understand. --Mike On Mon, Jun 7, 2010 at 8:44 AM, Robert Jackson <rjax(a)netcom.com> wrote: There is a rumor (can't divulge my sources) that an Ur-List exists but has not been approved for final publication by the Council of Nicea; I heard that 300 versions have been burnt thus far. (Cheese-it, Old Lady Gordon is listening!) May I take this moment while everyone is idling their motors in fumes of Brook and sportsfigures, the hotness and coolness, the hereness and nowness to announce the purposed creation of an Independent Studies program at the reunion? The IS program will consist of work on scenes of our whim carried out in whatever time not devoted to "The List" (which of course I love and worship whether it exists or not), and these few scenes, these happy few, are not necessarily for any of the publicized performances. But closed, experimental, in secret. ". . .yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history." Gnothing gnostic. Just idling my motor. Hail Constantine! _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l ------------------------------------------------------------------------------ _______________________________________________ Weeklong-l mailing list Weeklong-l(a)lists.wikimedia.org https://lists.wikimedia.org/mailman/listinfo/weeklong-l

Alice Gordon

4:01 p.m.

New subject: Update on scenes

Alice Gordon is roaming the halls as we speak, and the other kids are leaping into their lockers like bugs into a Venus fly trap. From: Robert Jackson <rjax(a)netcom.com> Reply-To: <weeklong-l(a)lists.wikimedia.org> Date: Tue, 8 Jun 2010 11:07:57 -0400 To: <mnemonic(a)gmail.com>om>, <weeklong-l(a)lists.wikimedia.org> Subject: Re: [Weeklong-l] Update on scenes Thanks Mike. Watching hours of live feed from the BP spill cam has apparently taken it's toll on my sanity. Whoever said "Waste is a terrible thing to mind." was wiser than he knew. In no way are the deliberations of Doc & the 6 G's comparable to a 4th century Bishopric smoker. The influence of the latter has lasted a mere 1600 years, that of the former could well go beyond Labor Day. Play. Is what Winedale does. And (sigh) I've discovered... Lasts. And lovely Alice Gordon is not a mean hall monitor. That is all. -Jackson ----- Original Message -----

...

From: Mike Godwin <mailto:mnemonic@gmail.com> To: weeklong-l(a)lists.wikimedia.org Sent: Monday, June 07, 2010 6:59 PM Subject: Re: [Weeklong-l] Update on scenes- wiki-leaki I am 100-percent behind every part of Robert's message that I understand. --Mike On Mon, Jun 7, 2010 at 8:44 AM, Robert Jackson <rjax(a)netcom.com> wrote:

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McDonald G.

1:54 a.m.

New subject: Update on scenes- wiki-leaki

Jackson, Tried to write to you at the email rjax(a)netcom.com but I was rejected! Not only am I not good enough to play Kate, I can't even get your service to accept my email..... Gail ________________________________________ From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On Behalf Of Robert Jackson [rjax(a)netcom.com] Sent: 07 June 2010 16:44 To: weeklong-l(a)lists.wikimedia.org Subject: Re: [Weeklong-l] Update on scenes- wiki-leaki There is a rumor (can't divulge my sources) that an Ur-List exists but has not been approved for final publication by the Council of Nicea; I heard that 300 versions have been burnt thus far. (Cheese-it, Old Lady Gordon is listening!) May I take this moment while everyone is idling their motors in fumes of Brook and sportsfigures, the hotness and coolness, the hereness and nowness to announce the purposed creation of an Independent Studies program at the reunion? The IS program will consist of work on scenes of our whim carried out in whatever time not devoted to "The List" (which of course I love and worship whether it exists or not), and these few scenes, these happy few, are not necessarily for any of the publicized performances. But closed, experimental, in secret. ". . .yet can be shuffled and re-dealt in endless permutations in each place, in each context, in each period of history." Gnothing gnostic. Just idling my motor. Hail Constantine!

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participants (11)

Alice Gordon
Bruce Meyer
Clay Stromberger
JOY MARVIN
K. Kern
Mary Collins
McDonald G.
Mike Godwin
Pees, Robert
Robert Jackson
Suhler, Jayne