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Enter Papa Nosedrop waving a
huge u g l y object. F r o m the sky all
sorts of v a l u a b l e o b j e c t s b e g i n f a l l i n g
a n d sailing. Shirts, shoes, coats, gir-
dles, bras, electric thises a n d thatses.
The contents of the whole Sunday
Edition!
^HMMMHMi
S T O R E D A Y S

D o c u m e n t s f r o m T h e S t o r e ( 1 9 6 1 )

a n d R a y G u n T h e a t e r ( 1 9 6 2 )

S e l e c t e d b y C l a e s O l d e n b u r g

a n d E m m e t t W i l l i a m s

P h o t o g r a p h s b y R o b e r t R . M c E l r o y

1 9 6 7

S O M E T H I N G E L S E P R E S S , I N C .
New York / Villefranche-sur-mer / Frankfurt a m Main
*

3 ,, i

To P o o p y

L. C . CATALOG CARD NO: 67-16292

Copyright, , 1967 by Clacs Thure Oldenburg. All rights reserved. No part of this book may be reproduced
in any form without permission in writing from the author or the publisher, Something Else Press, Inc., 160 Fifth
Avenue, New York, NY 10010, except by a reviewer who wishes to quote brief passages in connection with a
review written for inclusion in a magazine or a newspaper or a radio or television broadcast.

Manufactured in the United States of America

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- - ted
7 I w a n t these pieces to have an unbridled intense satanic vulgarity un-
s u r p a s s a b l e , a n d y e t b e a r t . T o w o r k i n t o t a l a r t is h a r d a s h e l l ,
yellow banana truck

M a n i f e s t o of a n A r t i s t N . Y . C . 1 9 6 1

Good morning
M y wife's back
Latin songs
D r o p p e d b a g s of crap N>*.

Dropped iceboxes
Smashing glass
M y wife's hair
Cat's meows
Firecracker blasts
Pigeons coo
Cars starting up
M y wife's t o u g h tits

thick enamel pt.

Dolores' pants

A n e w d e f i n i t i o n of N Y is n e e d e d y o u s e e a n d t h a t is w h y N e w York
will b e r e n a m e d Ray-Gun
t h i s c o u n t r y is a l l b o u r g e o i s d o w n t o t h e l a s t d e a t h t a i l a n d m o s t of t h e 8
c r i t i c i s m is a n e x h o r t a t i o n t o o b s e r v e a r t a n d j u s t i c e a n d g o o d s e n s e and
h u m a n i t y , w h i c h a r e a l s o b o u r g e o i s v a l u e s , s o t h e r e is n o e s c a p i n g b o u r g e o i s
v a l u e s i n A m e r i c a . T h e e n e m y is b o u r g e o i s c u l t u r e n e v e r t h e l e s s .
C I T Y A X or T A X I
Torrent
tame
torrential
hat song
hot seng
bed

I f I c o u l d o n l y f o r g e t t h e n o t i o n of a r t e n t i r e l y . I r e a l l y d o n ' t think
y o u c a n w i n . D u c h a m p is u l t i m a t e l y l a b e l e d a r t t o o . T h e b o u r g e o i s s c h e m e
is t h a t t h e y w i s h t o b e d i s t u r b e d f r o m t i m e t o t i m e , t h e y l i k e t h a t , but
t h e n t h e y e n v e l o p y o u , a n d t h a t l i t t l e b i t is o v e r , a n d t h e y a r e r e a d y for
t h e n e x t . T h e r e e v e n e x i s t s w i t h i n t h e b . v a l u e s a c o d e of p o s s i b i l i t i e s f o r
d i s t u r b a n c e , c e r t a i n " c r i m e s " w h i c h it r e q u i r e s s o m e c o u r a g e t o d o but
w h i c h will eventually b e r e w a r d e d w i t h i n t h e b. scheme. B. values are
h u m a n weakness, a civilization built on h u m a n weakness, non-resistance.
T h e y a r e d i s g u s t i n g . T h e r e a r e m a n y difficult t h i n g s t o d o w i t h i n t h e b .
v a l u e s , b u t I w o u l d l i k e t o find s o m e w a y t o t a k e a t o t a l l y o u t s i d e p o s i t i o n .
B o h e m i a is b o u r g e o i s . T h e b e a t is b o u r g e o i s their values a r e p u r e senti-
mentality t h e country, t h e g o o d heart, t h e fallen m a n , t h e h o n e s t m a n ,
t h e g o l d - h e a r t e d w h o r e e t c . T h e y w o u l d n e v e r t h i n k f . e x . of m a k i n g the]
c i t y a v a l u e of g o o d .
P o s s i b l y a r t is d o o m e d t o b e b o u r g e o i s . T w o p o s s i b l e e s c a p e s from
t h e b o u r g e o i s a r e 1. a r i s t o c r a c y a n d 2 . i n t e l l e c t , w h e r e a r t n e v e r thrives
t o o w e l l . T h e r e a g a i n I a m t a l k i n g a s if I w a n t t o c r e a t e a r t o u t s i d e b.
values. P e r h a p s this can't b e done, b u t w h y should I even w a n t to create
"art" t h a t ' s t h e n o t i o n I ' v e g o t t o g e t r i d of. A s s u m i n g t h a t I w a n t e d
11 to create some thing w h a t w o u l d that thing be? Just a thing, an object.
A r t w o u l d n o t e n t e r i n t o it. I m a k e a c h a r g e d o b j e c t ( " l i v i n g " ) . A n " a r t i s t i c "
a p p e a r a n c e o r c o n t e n t is d e r i v e d f r o m t h e o b j e c t ' s r e f e r e n c e , n o t f r o m t h e
o b j e c t i t s e l f o r m e . T h e s e t h i n g s a r e d i s p l a y e d i n g a l l e r i e s , b u t t h a t is n o t
t h e p l a c e for t h e m . A store w o u l d b e b e t t e r ( S t o r e p l a c e f u l l of o b j e c t s ) .
M u s e u m in b. c o n c e p t e q u a l s store in m i n e .

..
P r o b l e m is p r o b a b l y w i t h g a s o n s t o m a c h w h i c h c a u s e s symptoms
d e s c r i b e d , l y i n g flat o n c o l d s u r f a c e s f . e x . Dr. suggests giving Charlie
m i n e r a l oil ( n o t C o d L i v e r O i l ) , e i t h e r b y d r o p p e r & s p o o n in m o u t h , or
b y mixing w i t h food. H e said castrated cats are apt to develop "crystals"
i n t h e i r b l a d d e r if t h e d i e t is t o o s t r i c t l y fish (Puss a n d Boots etc.), and
r e c o m m e n d e d g i v i n g h i m l i v e r , k i d n e y s , a n y k i n d of m e a t ( t h e r e f o r e not
C o d L i v e r O i l ) . H e s a i d if c o n d i t i o n d o e s n o t i m p r o v e , b r i n g c a t b a c k f o r
e n e m a . I n n e x t f e w w e e k s w a t c h h i s b o w e l m o v e m e n t s , n o t e if c o n s t i p a t e d .
H e a p p e a r e d c o n s t i p a t e d a t t h e h o s p i t a l , D r . felt his b o w e l s . As for skin
t h i n g , h e g a v e a t e s t f o r o n e k i n d of f u n g u s b u t i t w a s n ' t t h a t . G a v e me
(sold m e ) s o m e - o i n t m e n t to p u t o n lesions, p l u c k o u t loose h a i r or c u t it
a w a y a n d r u b t h i s stuff i n , d o n o t l a y o n t o o m u c h o r C h a r l i e w i l l l i c k i t
off. V e r y n i c e p l a c e & C h a r l i e w e l l b e h a v e d . C o s t c a b s . 8 0 a p i e c e 1.60
a n d visit 3.25. T o t a l 4.85. . . .
thankyou
i always smile while riding a horse

EGYPT

W e l l t h a t is i t : t h e s u n g o e s u p a n d o n e s t a r t s t o w o r k . T h e n is o n e
either lucky or n o t lucky. A n d o n e isnt lucky every d a y & s o m e days get a
b a d r e p u t a t i o n , like T h u r s d a y s .

H e r e in t h e ruins, w e t a k e m a t t e r for t h e spirit f r o m w h a t sources w e


c a n . O u r s t u d y of a s p h a l t h a v i n g e x h a u s t e d t h e j o y s t h e r e f r o m , w e m o v e t o
t h e excellent r e p r e s e n t a t i o n s p r o v i d e d for u s in full color, w h i c h a r e b r o u g h t
d o w n a n d p u t on o u r walls a n d especially in t h e stores, a n d t h e beautiful
g o o d s w h i c h fill t h e s e s t o r e s .

T h e U S p e a c e t i m e as a crisis s i t u a t i o n .
A k i n d of e x p r e s s i o n i s t e x p r e s s i v e c o m m e r c i a l a r t .
But dont take the ruins away. T h e y r e the only good thing.
U S a l w a y s r e p r e s e n t e d in crisis s i t u a t i o n b y m e . N e w Y o r k b e s t for this.
10

Study Bras

I d o n t c o n s i d e r myself in s t r u g g l e w n a t u r e b u t in h a r m o n y w her.
N e i t h e r a r r o g a n c e n o r h u m i l i t y b u t h a r m o n y a n d i d e n t i f i c a t i o n . N o t h i n g is
n o t n a t u r e ( n a t u r a l ? ) a n d n o t h i n g n o t suitable for t h e living organizational
c a p a c i t y w h i c h is " a r t " . That which everyman does when walking down
s t r e e t artist d o e s as a n a c t in itself a n d t h e r e f o r e as a m o d e l t o o t h e r s .
T a k i n g o n as m a n y p r o b l e m s as h e can.
" B e a u t y " is w o r d of p r a i s e f o r h i s s u c c e s s f u l e f f o r t .
T h e m u l t i t u d e of n a t u r a l p o s s i b i l i t i e s p r e v e n t s i t s h a v i n g a n y s i n g l e d e f i n i -
tion.
A n a r t i s t is a s p e c i a l i s t i n s y n t h e s i s of p h y s i c a l p r a c t i c a l w o r l d .
H e analyzes or breaks u p only to rearrange a n d ultimately to resynthesize.

F i g / n o n fig is m o r o n i c d i s t i n c t i o n . T h e c h a l l e n g e t o a b s t r a c t a r t m u s t
go m u c h deeper.

T h e p l a s t e r i n m y b a t h r o o m is v e r y n i c e
s a m e g o e s f o r t h e h a l l , w h i c h is n o w b e i n g
painted with shiny enamel
T h e r e s a l o t of n o i s e f r o m t h e h o u s e
i n b a c k b u t w e l i k e i t e v e n if t h e g u y s a l l s i n g
off k e y a t o n c e . N e w Y o r k w o u l d n t b e m u c h
without Puerto Rico
N o w a n d t h e n t h e ferris w h e e l o n t h e t r u c k c o m e s
d o w n t h e s t r e e t or t h e i c e - c r e a m t r u c k w i t h its

t ship-bell
: ' . M y w i f e c o m e s in a n d twists m y n o s e a n d
t
T h a t is h o w i t g o e s

thats better m y style has b e e n going to hell


_ . MM
13 I h a v e g o t l o v e all m i x e d u p w i t h art. I h a v e g o t m y s e n t i m e n t s for t h e
w o r l d all m i x e d u p w i t h art. I a m a d i s a s t e r as a n artist b e c a u s e I c a n t l e a v e
the world alone.

T h e l i m i t a t i o n of s p a c e f o r c e s m e t o c o n s i d e r m a k i n g o n l y s m a l l e r p i e c e s a t
home.

L a r g e r pieces, w h i c h i w a n t to m a k e , n o t solved as to w h e r e . B u i l d M o n u -
m e n t s in p l a c e s f.ex. t a k e o v e r p l a c e s , like a s t o r e a n d b u i l d f r o m t h e r e
or m o r e c o n v e n t i o n a l l y s h a r e s o m e p l a c e or r e n t it?

Lately I h a v e b e g u n to u n d e r s t a n d action painting t h a t old t h i n g in a


n e w vital a n d peculiar s e n s e a s c o r n y as t h e scratches on a N Y w a l l a n d b y
p a r o d y i n g its c o r n I h a v e ( m i r a c l e ) c o m e b a c k t o its a u t h e n t i c i t y ! I feel as
if P o l l o c k is s i t t i n g o n m y s h o u l d e r , o r r a t h e r c r o u c h i n g i n m y p a n t s !

dog barks
cat m e o w s
rain

twinkles
cymbals
distant b a n d

I w i l l n o t b e d r a g g e d off t o t h e c o u n t r y a g a i n . T o p l e a s e p a t , who
t h e n d o e s n t like it a n y w a y . C o w s a n d shit. I t m a y just b e t h a t i g e t i n t e r -
r u p t e d w h i c h f u c k s u p t h e s u m m e r a n d fall.
W h a t is a b i g o b j e c t w e l l t h a t is a r o o m . I h a v e n o d e s i r e t o d o e n - 14
vironments b u t I will d o a room, I a m t u r n e d on b y the thick plaster a n d
g r e e n p a i n t of a k i t c h e n i n m y n e i g h b o r h o o d . T h e a c c u m u l a t i o n a n d m y s -
t e r y . T h e h e a p e d u p t a b l e w i t h a r a d i o i n it. S o m e t h i n g f r y i n g o n the
s t o v e . T h e o t h e r stuff o u g h t w e l l b e s a v e d f o r l a t e r .

plaques (flags)
J f C * ^ ^
monuments
space forms (whitmans)
houses rooms

objects in t o m b s (Egypt)

I w a n t m y f o r m a n d c o l o r t o a r i s e o u t of m y e x p e r i e n c e , n o t b e a r t i s t i c
like J i m m y s .

a n E x p O S e of A l l A n K a p R o w

T h e store w i n d o w s I see n o w serve as m o d e l s for clusters eye-


clusters f o r m a l m o d e l for a k i n d of v i s u a l e x p e r i e n c e : fragmentation,
simultaneousness, superimposition, w h i c h I w i s h to r e c r e a t e in t h e clusters.

p e r h a p s f r e e c l u s t e r s i n a i r & n o t o n l y of p l a s t e r , e n a m e l p l a s t e r ?

Women must work


m e n must think and eat
will i b e held on labor laws?
15 A show ! f o r g e t t h e c o m m e r c i a l i s m a n d v a n i t y of t h e l o n g - p r e p a r e d
s h o w . A s h o w is t h e g e s t u r e of b e i n g a l i v e , a p e r i o d b e f o r e as w e l l as
d u r i n g . . . . a look into one's continuing daily activity.

actually m a k e a store!
14 st or 6 ave
butchershop etc
the whole store an apotheosis!

a sad, past, h i ( s t o r ) i c a l store


a h a p p y contemporary store too?

T h e store will h a v e a counter


All t h e objects will b e three-dimensional
T h e r e will b e fragments of walls
chairs etc.

for billy, s o m e shit m o n e y


T h e Store D e s c r i b e d & B u d g e t for the Store 16

T h e Store, or M y Store, or t h e R a y - G u n Mfg. Co., located at 107_E.


2 n d S t . , N . Y . C . , is e i g h t y f e e t l o n g a n d v a r i e s a b o u t 1 0 ft w i d e . I n t h e f r o n t
h a l f , i t is m y i n t e n t i o n t o c r e a t e t h e e n v i r o n m e n t of a s t o r e , b y p a i n t i n g a n d
p l a c i n g ( h a n g i n g , projecting, lying) objects after t h e spirit a n d in t h e form
of p o p u l a r o b j e c t s of m e r c h a n d i s e , s u c h a s m a y b e s e e n i n s t o r e s a n d s t o r e -
w i n d o w s of t h e c i t y , e s p e c i a l l y i n t h e a r e a w h e r e t h e s t o r e is ( C l i n t o n St.,
f.ex., D e l a n c e y St., 1 4 t h S t . ) .

This store will b e constantly supplied w i t h n e w objects w h i c h I will


c r e a t e o u t of p l a s t e r a n d o t h e r m a t e r i a l s i n t h e r e a r h a l f of t h e p l a c e . T h e
objects will b e for sale in t h e store.

T h e s t o r e w i l l b e o p e n e v e r y d a y a t h o u r s I w i l l p o s t . F . e x . AM 1 0 - 2 ,
P M 5 - 7 , o r t h e h o u r s w h e n I w i l l b e a b l e t o b e i n t h e s t o r e , w h i c h is a l s o
of c o u r s e m y s t u d i o .

T h e s t o r e m a y b e t h o u g h t of a s a s e a s o n - l o n g e x h i b i t , w i t h c h a n g i n g &
n e w m a t e r i a l . I t w i l l b e t h e c e n t e r of m y a c t i v i t i e s d u r i n g t h e s e a s o n .

T h e r e n t of t h e s t o r e is $ 6 0 . 0 0 p e r m o n t h , i n c l u d i n g s t e a m h e a t and
h o t a n d cold water. Additional m o n e y will b e n e e d e d to paint a n d plaster
t h e front half a n d to m a k e objects. R e n t for 10 m o s . $600. Additional
m o n e y to equip store $150. M o n e y to m a k e objects $250. ($24 per
m o n t h ) . Total $1000.

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R A Y C U N M F G C O

D E C I E M B R E 1 n 3 1

T H E

( , * v* 4U. $f% w s - f ^y

MANHAffAN PRESS 1602 PARK AVE LE 4-7977


D I C I E M B R E 1 n 3 1

T H E

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C L A E S O L D E N B U R G

1 0 7 E 2 N D S T .

H O U R S : F R L S A T . , S U N . I T O 6 P . M .
A N D B Y A P P O I N T M E N T
l%l C O O P E R A T I O N W I T K I

T H E G R E E N G A L L E R Y

MANHATTAN MUSI 166! PARK AVI LI 4-7977

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1 3 I n c i d e n t s at t h e Store

A customer enters
S o m e t h i n g is b o u g h t
S o m e t h i n g is r e t u r n e d
It costs too m u c h
A bargain!
S o m e o n e is h i r e d . ( s o m e o n e is fired.)
T h e founders. H o w they struggled.
Inventory
Fire sale
S t o r e c l o s e d o n a c c t of d e a t h i n f a m i l y
T h e Night Before Christmas
Modeling clothes
A lecture to the Salesmen
21

1. A C u s t o m e r Enters

T h e r o o m is d a r k . A m a n s i t s a t t h e t a b l e . T w o f e m a l e b o d i e s o n t h e
floor. A h a n d h a n g s d o w n f r o m t h e " a t t i c " . T h e l i g h t is v e r y d i m . I n the
s l o w e s t p o s s i b l e g e s t u r e , t h e m a n lifts t h e t e l e p h o n e t o h i s e a r . T h e b o d i e s
m o v e a little.

T h e h a n d r e t u r n s t o t h e a t t i c . S o u n d of t h e M i c k e y M o u s e banjo.

Jm
2. S o m e t h i n g Purchased

T h e l i g h t s c o m e o n a g a i n , d i m l y . T h e m a n is s t i l l a t t h e t a b l e t a l k i n g
into the phone (not saying anything). Another m a n enters very briskly,
t a k e s off a h e a v y w i n t e r c o a t a n d h a n g s i t o n a h o o k , t h e n f r e e z e s . Both
the m a n w i t h t h e p h o n e a n d the other m a n are frozen.

T h e h a n d d e s c e n d s t o d r o p a g l a s s f u l of w a t e r .

3. A bargain!

S o u n d of t h e m a n u p s t a i r s r e a d i n g a p a p e r (ie. t u r n i n g t h e pages).
E v e r y o n e as t h e y w e r e . A r e d p a i n t b e g i n s to r u n d o w n a r o u n d t h e walls
from t h e attic. C o u g h i n g upstairs.

mm
4. H o w t h e F o u n d e r s Struggled.

All as it w a s .

T h e m a n ( w o m a n ) from a b o v e lowers himself slowly to his waist a n d


hangs there. T h e telephone rings time after time. T h e neighbor begins
practising trumpet. Bass d r u m a n d tambourine.

A man enters with a surprised look on his face. H e t a k e s off his


glasses a n d freezes.

T h e ( m a n ) upstairs pulls himself u p again.


5. Store c l o s e d o n a c c o u n t of d e a t h in family.

L a u g h t e r is h e a r d f r o m u p s t a i r s . A n u m b e r of s m a l l o b j e c t s f a l l o u t of
cracks a n d holes from a b o v e . A little snow. T h e m a n w i t h t h e p h o n e as
slowly as b e f o r e p u t s it d o w n , a n d t h e m a n w i t h t h e c o a t sinks t o t h e floor
i n i m i t a t i o n of t h e g e s t u r e .

Snoring from above.

T h e b o d i e s o n t h e floor w r i g g l e .

O n e o f t h e w o m e n o n t h e floor i s p u l l e d s l o w l y u p b y a r o p e i n t o t h e
a t t i c so t h a t h e r u n d e r w e a r s h o w s , u p s i d e d o w n . T h e r o p e c o n t i n u e s to
t h e o t h e r girl.

T h e m a n a t t h e p h o n e falls s l o w l y f o r w a r d .

T h e m a n w i t h t h e g l a s s e s is s l o w l y c o v e r e d w i t h a b a g .

Saxophone plays.

_ -
6. A l e c t u r e t o t h e Salesmen

T h e h e a d of t h e ( m a n ) i n t h e a t t i c c o m e s d o w n u p s i d e d o w n smok-
i n g a c i g a r e t t e . H e is l o w e r e d t o t h e f l o o r w h e r e h e c o l l e c t s i n a heap.
T h e girl s t a n d s u p , v e r y alert, b r u s h e s h e r skirt, p u t s o n gloves.

Rapid counting from upstairs.

S o u n d of a c a s h r e g i s t e r . T r u m p e t plays.

T h e girl p u s h e s t h e m a n b y t h e t a b l e so t h a t h e falls. S h e sits d o w n


and writes a long note.

T h e covered m a n w i t h glasses leans m o r e a n d m o r e forward until h e


is a t a f o r t y f i v e d e g r e e a n g l e a n d r e m a i n s f r o z e n t h e r e .

T h e g i r l k i s s e s t h e p i e c e s of p a p e r s h e is w r i t i n g a n d s t u f f s t h e m i n t o
h e r d r e s s a f t e r w r i t i n g o n e a c h p i e c e a n d k i s s i n g it. S h e f r e e z e s .

A r e d light, t h e n a yellow light.

(A nose blown.)

A b l u e light. L o n g motionlessness.

end

vgfc "If

'^*ee ,
T h e g o o d s i n t h e s t o r e s : c l o t h i n g , o b j e c t s of e v e r y s o r t , a n d t h e b o x e s 26
a n d w r a p p e r s , signs a n d billboards for all t h e s e r a d i a n t commercial
articles in m y i m m e d i a t e s u r r o u n d i n g s I h a v e d e v e l o p e d a g r e a t affection,
w h i c h h a s m a d e m e w a n t t o i m i t a t e t h e m . A n d so I h a v e m a d e t h e s e t h i n g s :
a w r i s t - w a t c h , a p i e c e of p i e , h a t s , c a p s , p a n t s , s k i r t s , f l a g s , 7 u p , s h o e - s h i n e
etc. etc., all v i o l e n t a n d s i m p l e in f o r m a n d color, just as t h e y are. In
s h o w i n g t h e m t o g e t h e r , I h a v e w a n t e d t o i m i t a t e m y a c t of perceiving
t h e m , w h i c h is w h y t h e y a r e s h o w n a s f r a g m e n t s ( o f t h e field o f s e e i n g ) ,
in different scale to o n e a n o t h e r , in a f o r m s u r r o u n d i n g m e ( a n d t h e spec-
t a t o r ), a n d in a c c u m u l a t i o n r a t h e r t h a n in s o m e i m p o s e d d e s i g n . A n d the
effect is: I h a v e m a d e m y o w n S t o r e .

Atget corset shops


T h a t flat s h i r t f o r m t h e f o u n d o b j e c t t o o s e e h o w i t g a t h e r s t o a f o r m
relief a n d b u l g i n g p l a n e s pillows
a n a d j e c t i v e for t h e s a w m i l l ?
little gestures: ear t w e a k s
to talk into hair held u p

t h e m a t t e r of r e a c h i n g c e r t a i n t y not yet
h o w t o g e t t h e s e n e w f o r m s a n d c o l o r s i n t o m y s y s t e m s of f e e l i n g
s o t h a t f . e x . b r i l l i a n t s i m p l e c o l o r is s a d
a n d n o t ( w h i c h is w h a t i t u s u a l l y i s ) h a p p y
i always set myself p r o b l e m s

t h e a d s a r e n e a r l y a n a b s o l u t e e q u i v a l e n t of t h e s t o r e s themselves
w i n d o w or store equals a d
gas main powerhouse garage
color t e c h n i q u e s u b j e c t h a s all c o m e t o g e t h e r after t w o m o s p r e p

i lumberyard papermill printing plant


rags of c. a g e of f a b r i c clothes rags
t
Eventually I h o p e the m e t a m o r p h i c a n d creative takes over from the
i
realistic as t h e p r e s e n t takes over from t h e past,
t h e gothic m y t h o p o e i c vision
closline w h i t e sale
27 M y l i f e is a h i s t o r y of r o o m s i n w h i c h I a m s e l f - l o c k e d i n . M y l i f e is a l s o
a h i s t o r y of f r a n t i c " e s c a p e s " w h i c h c o m e t o n o t h i n g , b a c k t o a r o o m . S o ,
accepted.
T h i s l i m i t s m y e x p r e s s i o n t o " m y r e a l i t y " , t h a t is, t o a n " a r t i s t s " r e a l i t y .
I k n o w m y separation.
I h a v e h a d s o m e t h i n g like affairs w i t h r o o m s . G o o d b y e s f.ex. Union
only with impersonal, nature.
T h i s r o o m , e n c l o s u r e is m y n a t u r a l a t t r a c t i o n t o e n v i r o n m e n t s w h i c h I
c o n c e i v e a s i n t e r i o r s o r e v e n if o p e n : h i g h c e i l i n g s o r e n c l o s e d o u t s i d e (the
street)
M y w o r k is t h o r o u g h l y a n d h o n e s t l y s e l f - p r o j e c t i v e , n a r c i s s i s t i c . T h i s
" w e a k n e s s " c o n s t i t u t e s i t s p o w e r . M y d e s i r e f o r a n a u d i e n c e is t h e d e s i r e t o
confess, a desire t o reach, or b e r e a c h e d , b e s a v e d from enclosure. Which
never happens.
N o o n e reaches me. I reach noone, except thru disguises a n d thru others
(players)

M y f o r m of w r i t i n g is e i t h e r a u t o b i o g r a p h i c a l d e s c r i p t i v e of my
p r o c e d u r e s f . e x . o r s u b j e c t s ; o r f a n t a s y . O b j e c t i v i t y is r e a l l y b e y o n d m e a n d
m y d e t a c h m e n t is n o t t h a t , b u t s e p a r a t i o n . O p i n i o n s a r e m y w e a k e s t a r e a , s o
I p u t t h e s e i n l e t t e r s t h a t is p e r s o n a l s t a t e m e n t s a n d f r e e l y w h i c h l i k e s t a t e -
ments spoken m a y thus be discredited by being momentary and subjective
and contexted

Store Eros

T h e S t o r e is l i k e t h e S t r e e t a n e n v i r o n m e n t a l ( a s w e l l a s a t h e m a t i c )
form. In a w a y t h e y are t h e s a m e t h i n g b e c a u s e s o m e streets or squares
(like T S q ) are just large o p e n stores ( w i n d o w s , signs etc.). I n T h e Store
t h e c o n c e n t r a t i o n u p o n o b j e c t s is m o r e i n t e n s e , a n d h a r s h c o l o r s rather
than greys a n d browns dominate.
any
Guises of RG la. I l k a CJteiAsyww f a i t h f o r c e d u n d e r *J^^^iiX3;.*.&$&}c
g34tJtx5ir s y s t e m t o d w a l l i n disguises

A3 t h e artist in his disguises

A3 a E t in it3 d i 3 g U i 3 33

As the powar of 3aaing truth in Its diygui.333

Aa tha aalf in its disguises

As religion -In it3 disguissa

Ray-Gun is hot'- a form of deception (to everyone, incl. onaself) find a

forr of play. 30 important play ia. ie. only taia comic is sarious,

only tha off-hand is effective ate.

Therefore, Ray-Gun ia a series of contradictions, par-xdoxes, A form of

dialectic.

Ray-Gun aa Sroa or lifa in its disguisaa.

Its disguises are very often its opposites.

Ray Gun i s ultimately tha unknowable, pursued futilay through all its dis

guises, yet the sina qua non.

Tha amnibguity the slipparinass of its definition is not a problem but it.

essence...from a mortal view.

It is a faith, or the possibility-of faith, which is whybitsraligloua T p

pins?s and ref3 to m y s t i c a l jxs^^n&llWi theory.

It is the asaanoa or nead for religion beyond existing Skaxjtmachinery


<
k
j Rg a s the street. Rg a a the store. Rg a 3 the factory .

t
fireplace is ndtar
)
some oarfs ara mystical "seances"

in 111
R A Y G U N M A N U F A C T U R I N G C O M P A N Y

1D7 EAST SECOND STREET

NEW YORK CITY 9, U. S. A.

PRES. C. OLDENBURG PHONE, OREGON 4 - 0 3 B 0


CABLE ADDRESS: RAYGUNUSA

b u r n e d my f j l n g a r a n d went tost vinvoent

ola3s w lef6 band

1
.?* ^ ^ w ^ ^ & ^ f * *

r
-
31

I n v e n t o r y of S t o r e D e c . 1961

1. 9 . 9 9 free h a n g i n g $399.95
2. 3 9 c e n t s relief 198.99
3. Store R a y - G u n free h a n g i n g 249.95
4. S u c c e s s P l a n t free standing 249.99
5. "To M y L o v e " Inscription from C a k e relief 149.95
6. Cash Register free s t a n d i n g 349.99
7. U.S. F l a g F r a g m e n t relief 297.95
8. B u n t i n g relief 149.99
9. T i m e s S q u a r e F i g u r e free standing 149.98
10. S t a t u e of L i b e r t y S o u v e n i r free standing 169.98
11. F u n e r a l H e a r t relief 349.98
12. Store Cross relief 399.98
13. W e d d i n g B o u q u e t free h a n g i n g 229.89
14. B r i d e M a n n i k i n free standing 899.95
15. Injun Souvenir free standing 124.99
16. T o y R a y G u n free lying 34.99
17. M a n n i k i n w i t h O n e L e g free standing 499.98
18. A u t o Tire w i t h F r a g m e n t of P r i c e relief 449.69
19. I r o n F r a g m e n t relief 449.95
20. S e w i n g M a c h i n e relief 449.99
21. Rings F r a g m e n t relief 199.98
22. Wrist W a t c h on B l u e relief 295.98
23. Cigarette and Smoke free h a n g i n g 99.95
24. Girl, F l a g , C i g a r e t t e s reliefs o n w o o d 198.99
25. Cigarettes in P a c k F r a g m e n t relief 499.99
26. Pepsi-Cola Sign relief 399.98
27. Oranges relief 279.89
28. O r a n g e Juice relief 199.95
29. P l a t e of M e a t relief 399.98
30. B a c o n & E g g relief 229.95
31. Big S a n d w i c h relief 149.98
32. R e d Pie relief 399.95
33. Small Yellow Pie relief 169.99
34. F o u r F l a t P i e s in a R o w free standing 149.95
N

t ^ U T m * *

C o .
* \ * |

_a
35. Ice C r e a m B a r free s t a n d i n g 169.99
36. I c e C r e a m C a k e relief 169.99
37. Ice C r e a m C o n e a n d H e e l relief 124.95
38. R e d Sausages relief 199.98
39. C h o c o l a t e s in Box (Fragment) relief 399.98
40. S t o c k i n g e d T h i g h s F r a m e d b y Skirt
(Stocking Advertisement Fragment) relief 299.95
41. F o u r Flat Panties in a R o w free standing 149.95
42. Blue a n d P i n k Panties relief 349.99
43. G r e e n Stockings relief 169.95
44. Blue L e g s relief 299.99
45. G r e e n L e g s with Shoes relief 299.99
46. Black Girdle relief 249.95
47. R e d Tights w i t h F r a g m e n t 9 relief 395.99
48. Braselette relief 299.95
49. F u r Jacket w i t h W h i t e Gloves relief 324.95
50. Small B e a u t y Parlor F a c e relief 49.99
51. L a r g e B e a u t y Parlor F a c e plasterboard on w o o d plaque 69.98
52. P i n k C a p relief 299.89
53. T w o H a t s relief 249.99
54. D r e s s Jacket enamel on plaster on paper 49.95
55. M a n ' s Shoe relief 199.99
56. M u - M u relief 449.19
57. Blouse p r o j e c t i n g relief 299.95
58. T h r e e L a d i e s ' Stockings free h a n g i n g 99.99
59. Black Ladies' Shoe free m o u n t e d 125.95
60. Yellow G i r l s ' D r e s s relief 249.99
61. R e d C a p free s t a n d i n g 199.95
62. M a n ' s Sock free h a n g i n g 199.95
63. W h i t e G y m Shoes freestanding 129.99
64. Ties free s t a n d i n g 129.99
65. Blue Shirt, Striped T i e freestanding 149.95
66. M e n ' s J a c k e t w i t h Shirt a n d T i e free h a n g i n g 399.95
67. Jacket a n d Shirt F r a g m e n t relief 249.99
68. Big W h i t e Shirt w i t h B l u e T i e free s t a n d i n g 399.95
69. Big N e c k l a c e free h a n g i n g 199.95
7 0 . E a r - r i n g s (drop form) free h a n g i n g 44.98
71. W a t c h in a R e d B o x free standing 129.95 34
72. T w o Girls'Dresses relief 349.99
73. Counter and Plates with Potato & H a m free standing 279.98
74. C a k e s in a Glass B o x free standing 324.98
75. C a n d y Counter with C a n d y free standing 399.97
76. C a n d y Bar free lying 49.95
77. Four Pies in a Glass Case 249.99
78. B l o n d e Pie free s t a n d i n g 149.95
79. "Vulgar" Pie free standing 124.95
80. Flat L o n g Pastry free s t a n d i n g 169.99
81. Strawberry Shortcake free standing 84.95
82. B i g Chocolate Cake free standing 149.98
83. Half C h e e s e Cake free standing 149.98
84. Cheese Cake free s t a n d i n g 124.99
85. Striped Cake Slice free standing 44.95
86. Cherry Pastry free s t a n d i n g 44.98
87. Shell Cookie free lying (w. plate) 29.95
88. C u b e Pastry free standing 24.98
89. Three Jelly D o u g h n u t s free lying 99.99
9 0 . P l a t e of A s s o r t e d P a s t r i e s free standing 124.99
91. T w o D a n i s h & Turnover free lying (w. plate) 149.95
92. T w o L o a v e s of B r e a d , O n e C u t free standing 349.99
93. S a n d w i c h free lying 74.98
9 4 . P i l e of T o a s t free lying 149.89
95. Carrots free h a n g i n g 99.98
96. Liver Sausage & Slices free lying 149.95
I 97. Fried Chicken ( 2 ) free lying 99.98
98. Sardine C a n with 2 Sardines on Paper B a g free standing 124.97
99. Roast free lying or h a n g i n g 179.98
100. F r i e d E g g in P a n freestanding 34.98
101. Roses on a Plate free lying 49.95
102. M a t c h Cover free lying 44.98
103. Cigarette Pack free lying 49.95
104. Air Mail Letter free lying 74.99
105. P o s t C a r d free lying 39.95
106. Calendar free h a n g i n g 79.89
j 107. Oval Photograph free 21.79
T J U A J

\ / A d M A s j l*%j^**\

f L A s i 5

________ ___. _
V v ^ o U ^

* * ? / * < -
,m I i<nt-i
39 I a m f o r a n a r t t h a t is p o l i t i c a l - e r o t i c a l - m y s t i c a l , t h a t d o e s something
o t h e r t h a n sit o n its ass in a m u s e u m .
I a m f o r a n a r t t h a t g r o w s u p n o t k n o w i n g i t is a r t a t a l l , a n a r t g i v e n
t h e c h a n c e of h a v i n g a s t a r t i n g p o i n t of z e r o .
I a m for a n a r t t h a t e m b r o i l s itself w i t h t h e e v e r y d a y c r a p & still c o m e s
out on top.
I a m f o r a n a r t t h a t i m i t a t e s t h e h u m a n , t h a t is c o m i c , if n e c e s s a r y ,
o r v i o l e n t , o r w h a t e v e r is n e c e s s a r y .
I a m f o r a n a r t t h a t t a k e s i t s f o r m f r o m t h e l i n e s of l i f e i t s e l f , that
t w i s t s a n d e x t e n d s a n d a c c u m u l a t e s a n d s p i t s a n d d r i p s , a n d is h e a v y and
c o a r s e a n d b l u n t a n d s w e e t a n d s t u p i d a s life itself.

I a m for a n artist w h o v a n i s h e s , t u r n i n g u p in a w h i t e c a p painting


signs or hallways.

I a m f o r a r t t h a t c o m e s o u t of a c h i m n e y l i k e b l a c k h a i r a n d scatters
in t h e sky.
I a m f o r a r t t h a t s p i l l s o u t of a n o l d m a n ' s p u r s e w h e n h e is b o u n c e d
off a p a s s i n g f e n d e r .
I a m f o r t h e a r t o u t of a d o g g y ' s m o u t h , f a l l i n g five s t o r i e s f r o m t h e r o o f .
I a m for t h e a r t t h a t a k i d licks, after p e e l i n g a w a y t h e w r a p p e r .
I a m for a n art t h a t joggles like e v e r y o n e s knees, w h e n t h e b u s tra-
verses an excavation.
I a m f o r a r t t h a t is s m o k e d , l i k e a c i g a r e t t e , s m e l l s , l i k e a p a i r of s h o e s .
I a m f o r a r t t h a t f l a p s l i k e a flag, o r h e l p s b l o w n o s e s , l i k e a hand-
kerchief.
I a m f o r a r t t h a t is p u t o n a n d t a k e n off, l i k e p a n t s , w h i c h develops
h o l e s , l i k e s o c k s , w h i c h is e a t e n , l i k e a p i e c e of p i e , o r a b a n d o n e d with
g r e a t c o n t e m p t , l i k e a p i e c e of s h i t .

I a m for a r t c o v e r e d w i t h b a n d a g e s . I a m for a r t t h a t l i m p s a n d rolls


a n d r u n s a n d j u m p s . I a m for a r t t h a t c o m e s in a c a n or w a s h e s u p on t h e
shore.
I a m for a r t t h a t coils a n d g r u n t s like a wrestler. I a m for a r t that
sheds hair.
I a m for a r t y o u c a n sit o n . I a m for a r t y o u c a n p i c k y o u r n o s e w i t h
or stub y o u r toes on.
I a m for a r t f r o m a p o c k e t , f r o m d e e p c h a n n e l s of t h e e a r , f r o m the
e d g e of a k n i f e , f r o m t h e c o r n e r s of t h e m o u t h , s t u c k i n t h e e y e o r w o r n 40
on t h e wrist.
I a m f o r a r t u n d e r t h e s k i r t s , a n d t h e a r t of p i n c h i n g c o c k r o a c h e s .

I a m for t h e a r t of c o n v e r s a t i o n b e t w e e n t h e s i d e w a l k a n d a blind
m a n s m e t a l stick.
I a m f o r t h e a r t t h a t g r o w s i n a p o t , t h a t c o m e s d o w n o u t of t h e s k i e s
at n i g h t , like lightning, t h a t h i d e s in t h e c l o u d s a n d growls. I a m for art
t h a t is flipped o n a n d off w i t h a s w i t c h .
I a m for art t h a t unfolds like a m a p , t h a t y o u c a n squeeze, like y o u r
s w e e t y s a r m , or kiss, like a p e t d o g . W h i c h e x p a n d s a n d s q u e a k s , like a n
a c c o r d i o n , w h i c h y o u c a n spill y o u r d i n n e r on, like a n o l d t a b l e c l o t h .
I a m for a n a r t t h a t y o u c a n h a m m e r w i t h , stitch w i t h , s e w w i t h , p a s t e
w i t h , file w i t h .
I a m f o r a n a r t t h a t t e l l s y o u t h e t i m e of d a y , o r w h e r e s u c h a n d s u c h
a s t r e e t is.
I a m for a n art t h a t h e l p s old ladies across t h e street.

I a m f o r t h e a r t of t h e w a s h i n g m a c h i n e . I a m f o r t h e a r t of a g o v e r n -
m e n t c h e c k . I a m f o r t h e a r t of l a s t w a r s r a i n c o a t .
I a m for t h e art t h a t c o m e s u p in fogs f r o m sewer-holes in w i n t e r . I
a m for t h e art t h a t splits w h e n y o u s t e p o n a frozen p u d d l e . I a m for t h e
w o r m s a r t i n s i d e t h e a p p l e . I a m for t h e a r t of s w e a t t h a t d e v e l o p s b e t w e e n
crossed legs.

I a m f o r t h e a r t of n e c k - h a i r a n d c a k e d t e a - c u p s , f o r t h e a r t b e t w e e n
j t h e t i n e s of r e s t a u r a n t forks, for t h e o d o r of b o i l i n g d i s h w a t e r .
' I a m f o r t h e a r t of s a i l i n g o n S u n d a y , a n d t h e a r t of r e d a n d white
gasoline pumps.
I a m f o r t h e a r t of b r i g h t b l u e f a c t o r y c o l u m n s a n d b l i n k i n g b i s c u i t
signs.
I a m f o r t h e a r t of c h e a p p l a s t e r a n d e n a m e l . I a m f o r t h e a r t of w o r n
m a r b l e a n d s m a s h e d s l a t e . I a m f o r t h e a r t of r o l l i n g c o b b l e s t o n e s and
s l i d i n g s a n d . I a m f o r t h e a r t of s l a g a n d b l a c k c o a l . I a m f o r t h e a r t of d e a d
birds.
I a m f o r t h e a r t of s c r a t c h i n g s i n t h e a s p h a l t , d a u b i n g a t t h e w a l l s . I
a m f o r t h e a r t of b e n d i n g a n d k i c k i n g m e t a l a n d b r e a k i n g g l a s s , a n d p u l l i n g
I a t t h i n g s t o m a k e t h e m fall d o w n .

-*-_->i
Mmmr-
41 I a m f o r t h e a r t of p u n c h i n g a n d s k i n n e d k n e e s a n d s a t - o n b a n a n a s .
I a m f o r t h e a r t of k i d s ' s m e l l s . I a m f o r t h e a r t of m a m a - b a b b l e .
I a m f o r t h e a r t of b a r - b a b b l e , t o o t h - p i c k i n g , b e e r d r i n k i n g , e g g - s a l t i n g ,
i n - s u i t i n g . I a m f o r t h e a r t of f a l l i n g off a b a r s t o o l .

I a m f o r t h e a r t of u n d e r w e a r a n d t h e a r t of t a x i c a b s . I a m f o r the
a r t of i c e - c r e a m c o n e s d r o p p e d o n c o n c r e t e . I a m f o r t h e m a j e s t i c a r t of
dog-turds, rising like cathedrals.

I a m for t h e b l i n k i n g arts, l i g h t i n g u p t h e n i g h t . I a m for a r t falling,


s p l a s h i n g , w i g g l i n g , j u m p i n g , g o i n g o n a n d off.
I a m f o r t h e a r t of f a t t r u c k - t i r e s a n d b l a c k e y e s .
I a m for Kool-art, 7 - U P art, Pepsi-art, S u n s h i n e art, 3 9 c e n t s art, 15
cents art, V a t r o n o l art, D r o - b o m b art, V a m art, M e n t h o l art, L & M art, Ex-
lax art, V e n i d a art, H e a v e n Hill art, P a m r y l art, S a n - o - m e d art, Rx art, 9.99
art, N o w art, N e w art, H o w art, Fire sale art, Last C h a n c e art, O n l y art,
D i a m o n d art, T o m o r r o w art, F r a n k s art, D u c k s art, M e a t - o - r a m a art.

I a m f o r t h e a r t of b r e a d w e t b y r a i n . I a m f o r t h e r a t s ' d a n c e b e t w e e n
floors. I a m f o r t h e a r t of flies w a l k i n g o n a s l i c k p e a r i n t h e e l e c t r i c l i g h t . I
a m f o r t h e a r t of s o g g y o n i o n s a n d firm g r e e n s h o o t s . I a m f o r t h e a r t of
clicking a m o n g t h e n u t s w h e n t h e r o a c h e s c o m e a n d go. I a m for t h e b r o w n
s a d a r t of r o t t i n g a p p l e s .
I a m f o r t h e a r t of m e o w l s a n d c l a t t e r of c a t s a n d f o r t h e a r t of t h e i r
d u m b electric eyes.
I a m f o r t h e w h i t e a r t of r e f r i g e r a t o r s a n d t h e i r m u s c u l a r o p e n i n g s a n d
closings.
I a m f o r t h e a r t of r u s t a n d m o l d . I a m f o r t h e . a r t of h e a r t s , funeral
h e a r t s o r s w e e t h e a r t h e a r t s , f u l l of n o u g a t . I a m f o r t h e a r t of w o r n m e a t -
h o o k s a n d s i n g i n g b a r r e l s of r e d , w h i t e , b l u e a n d y e l l o w m e a t .
I a m f o r t h e a r t of t h i n g s l o s t o r t h r o w n a w a y , c o m i n g h o m e from
s c h o o l . I a m f o r t h e a r t of c o c k - a n d - b a l l t r e e s a n d flying c o w s a n d t h e n o i s e
of r e c t a n g l e s a n d s q u a r e s . I a m f o r t h e a r t of c r a y o n s a n d w e a k g r e y p e n c i l -
l e a d , a n d g r a i n y w a s h a n d s t i c k y o i l p a i n t , a n d t h e a r t of w i n d s h i e l d w i p e r s
a n d t h e a r t of t h e finger o n a c o l d w i n d o w , o n d u s t y s t e e l o r i n t h e b u b b l e s
o n t h e s i d e s of a b a t h t u b .
I a m f o r t h e a r t of t e d d y - b e a r s a n d g u n s a n d d e c a p i t a t e d r a b b i t s , e x -
ploded umbrellas, r a p e d beds, chairs with their b r o w n bones broken, burn-
ing trees, firecracker ends, chicken bones, pigeon bones and boxes with m e n 42
sleeping in t h e m .

I a m f o r t h e a r t of s l i g h t l y r o t t e n f u n e r a l flowers, h u n g bloody rabbits


a n d wrinkly yellow chickens, bass d r u m s & tambourines, a n d plastic phono-
graphs.
I a m f o r t h e a r t of a b a n d o n e d b o x e s , t i e d l i k e p h a r a o h s . I a m f o r a n
a r t of w a t e r t a n k s a n d s p e e d i n g c l o u d s a n d flapping shades.
I a m for U.S. G o v e r n m e n t I n s p e c t e d Art, G r a d e A art, R e g u l a r Price
art, Yellow R i p e art, E x t r a F a n c y art, R e a d y - t o - e a t art, Best-for-less art,
Ready-to-cook art, Fully c l e a n e d art, S p e n d Less art, E a t Better art, Ham
art, p o r k art, chicken art, t o m a t o art, b a n a n a art, a p p l e art, t u r k e y art,
cake art, cookie art.

add
I I m f o r a n a r t t h a t i s c o m b e d d o w n , t h a t i s h u n g f r o m e a c h e a r , t h a t is
l a i d o n t h e l i p s a n d u n d e r t h e e y e s , t h a t is s h a v e d f r o m t h e l e g s , t h a t is
b r u s h e d o n t h e t e e t h , t h a t is f i x e d o n t h e t h i g h s , t h a t is s l i p p e d o n t h e f o o t .
1
square which becomes blobby

i t -
- ^

Vocabulary

Glass: 1. E y e . 2 . S e p a r a t i o n s : I n s i d e / o u t s i d e . E x a m p l e s : S t o r e w i n d o w .
Pastry-cases.
Ray Gun: 1. k i d ' s t o y . 2 . S e e i n g t h r o u g h w a l l s . 3 . T h e u n i v e r s a l a n g l e . E x -
a m p l e s : Legs, Sevens, Pistols, A r m s , Phalli simple Ray Guns.
Double Ray Guns: Cross, Airplanes. A b s u r d Ray Guns: Ice
C r e a m Sodas. C o m p l e x R a y G u n s : Chairs, Beds. 4. A n a g r a m s
a n d h o m o p h o n i e s : N u g Y a r ( N e w Y o r k ) . R e u B e n ( G a l l e r y ) . 5.
A c c i d e n t a l references: A m o v i e h o u s e in H a r l e m . A n u c l e a r test-
i n g s i t e i n t h e S a h a r a ( R a g o n ) . 6 . W h a t e v e r is n e e d e d . A w o r d
o u g h t t o b e useful. 7. C r y p t i c sayings: "All will see as R a y G u n
s e e s . " " T h e n a m e of N e w Y o r k w i l l b e c h a n g e d t o R a y Gun."
" W h e n R a y G u n shoots, n o o n e d i e s . " 8. T a l i s m a n i c , fetishistic
functions.
Store: 1. E R O S 2 . S t o m a c h . 3 . M e m o r y . E n t e r M y S t o r e .

Volume

Increased flatulence.
M o d e l : a balloon. Pressure from center out. F r o m inside. Skin over m a t t e r
straining out.

T e c h n i q u e of i n c r e a s e d flatulence: stuffed cloth. R e v e r s e d seam.

C o r r e s p o n d e n c e a n d likely subjects: toys ( F A O Schwartz)

L i n e t u r n e d in. Dissolution t u r n e d in. N o outline, n o agitation. C o n t i n u o u s ,


c o m p l a c e n t , tight skin like a m a n swollen w i t h water.

R e p e a t (as w i t h line a n d color): I always m a k e things bigger or smaller


t h a n t h e y o u g h t to be. ( b u t sometimes just t h e s a m e size)

jk_
Color

A c h u n k i n s p a c e . 1. l e a v i n g i t s s u r f a c e 2 . f r e e .
( d r a w i n g : i r r e g u l a r i t y of n e a r n e s s a g a i n s t s i m p l i c i t y of d i s t a n c e )
painting: melting pitted against sustaining. Droops.
( d r a w i n g : e d g e vs. a r e a )
p a i n t i n g : d i s s o l u t i o n vs. v o l u m e . I c e . B u t t e r . V e g e t a b l e s . I c e C r e a m .
C l o t h in t h e w i n d .

Techniques: plaster, b o d y paint ( e n a m e l ) .

C o r r e s p o n d e n c e s : pastries, textiles, all kinds.

L i k e l y subjects ( t h e r e f o r e ) : food, c l o t h i n g ( a s in w i n d o w s )

Line

C o a s t l i n e s , d r a w i n g s of a n i m a g i n a r y c o u n t r y . E d g e s , p l a i n s o r cliffs w h e r e
t h e land meets the sea (matter/space, flesh/space). T h e e m p t y p a r t of
t h e p a p e r is t o r n off a n d t h r o w n a w a y . T h e d r a w n p a r t ( t h e l a n d ) is h u n g i n
space.

C a r d b o a r d f o u n d o n t h e s t r e e t 1. is c h e a p 2 . m a k e s n i c e c o a s t l i n e s .

T h e s o u r c e of l i n e is t h e s t r e e t .

Plane

Rising (if flat) o r s w e l l i n g f r o m a n e d g e , l i k e t h e w i n g of a n airplane.


Stuffed or h e l d o u t (as b y w i r e c o v e r e d w i t h p a p e r ) . Floating. P l a n e s h o u l d
b e a b l e t o b e s e e n f r o m s i d e a n d i n t h e m a n y p t s of o b s e r v a t i o n f r o m s i d e t o
f r o n t , a s w i t h M o o n . T h e p l a n e is a d i s t o r t i o n of a s p h e r e o r c u b e t h r o u g h
vision.

S h a d o w s , silhouettes, illusions, p e r s p e c t i v e .
i ^ ' * ' m * ' * ' - - .

3 T T J 1
i j ^ T C

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Ifli :,: 'IK.:'. |jfi|*9*
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rJ? 1

_^H 10" _Hr: _lfl


IBi

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~> r
I u s e n a i v e i m i t a t i o n . T h i s is n o t b e c a u s e I h a v e n o i m a g i n a t i o n o r 48
b e c a u s e I w i s h t o s a y s o m e t h i n g a b o u t t h e e v e r y d a y w o r l d . I i m i t a t e 1.
o b j e c t s a n d 2. c r e a t e d objects, f.ex. signs. O b j e c t s m a d e w i t h o u t t h e i n t e n -
t i o n of m a k i n g " a r t " a n d w h i c h n a i v e l y c o n t a i n a f u n c t i o n a l contemporary
m a g i c . I t r y t o c a r r y t h e s e e v e n f u r t h e r t h r o u g h m y o w n n a i v e t e , w h i c h is
n o t artificial. F u r t h e r , i.e. c h a r g e t h e m m o r e i n t e n s e l y , e l a b o r a t e t h e i r refer-
e n c e . I d o n o t t r y t o m a k e " a r t " o u t of t h e m . T h i s m u s t b e u n d e r s t o o d . I
imitate these because I w a n t people to get accustomed to recognizing the
p o w e r of o b j e c t s , a d i d a c t i c a i m . I f I a l t e r , w h i c h I d o u s u a l l y , I d o n o t
a l t e r f o r " a r t " a n d I d o n o t a l t e r t o e x p r e s s myself, I alter to unfold the
object, a n d t o a d d t o it o t h e r o b j e c t - q u a l i t i e s , forces. T h e o b j e c t remains
a n object, o n l y e x p a n d e d a n d less specific.

T h e r e is first t h e i c e - c r e a m c o n e a s i t is. T h i s w o u l d b e o n e i m i t a t i o n .
T h e n b e g i n s a s e r i e s of p a r a l l e l r e p r e s e n t a t i o n s w h i c h a r e n o t t h e i c e - c r e a m
c o n e b u t n e v e r t h e l e s s r e a l i s t i c o r o b j e c t i v e : f. e x . t h e i c e - c r e a m c o n e i n a
n e w s p a p e r a d . T h e i c e - c r e a m c o n e or a n y o t h e r p o p u l a r s h a p e as a fetish
object. T h e ice-cream cone in altered scale ( g i a n t ) . T h e ice-cream c o n e as
a s y m b o l etc. O n l y t h e c r e a t e d object m y parallel cone will include
a n d / o r c o n c e n t r a t e s e v e r a l of t h e s e .

T h e f a c t t h a t t h e s t o r e r e p r e s e n t s A m e r i c a n p o p u l a r a r t is o n l y a n a c -
c i d e n t , a n a c c i d e n t of m y s u r r o u n d i n g s , m y l a n d s c a p e , of t h e o b j e c t s w h i c h
i n m y d a i l y c o m i n g a n d g o i n g m y c o n s c i o u s n e s s a t t a c h e s i t s e l f t o . A n a r t of
i d e a s is a b o r e a n d a s e n t i m e n t a l i t y , w h e t h e r w i t t y o r s e r i o u s o r w h a t . I m a y
h a v e things to say a b o u t U S a n d m a n y other matters, b u t in m y art I a m con-
c e r n e d w i t h p e r c e p t i o n of r e a l i t y a n d c o m p o s i t i o n . W h i c h is t h e o n l y w a y
that art can really b e useful b y s e t t i n g a n e x a m p l e of h o w t o u s e t h e
senses.

--
I k n o w t h a t d o w n t o t h e l a s t s i m p l e d e t a i l e x p e r i e n c e is t o t a l l y m y s -
terious. T h e only p e r s o n I k n o w t h a t t r i e d to p r o v e t h e simplest t h i n g in t h e
w o r l d , l i k e a p i e c e of c a n d y , w a s u t t e r l y m y s t e r i o u s w a s C h i r i c o ( i n h i s
e a r l y d a y s ) . B u t I g u e s s its w h a t e v e r y still-life p t r w o r t h a n y t h i n g t r i e d t o
s h o w t o o . W i t h m e o f c. w e l l I a m l i v i n g i n t h e c i t y , a p a r t i c u l a r c i t y , i n a
d i f f e r e n t t i m e , a n d m y s u b j e c t s a r e a s a p t t o b e d e p i c t i o n s of t h e r e a l t h i n g
as t h e r e a l t h i n g s ( e v e n r e a l p i e t h e s e d a y s d o e s n o t t a s t e l i k e p i e ) . Still,
w h a t I w a n t t o d o m o r e t h a n a n y t h i n g is t o c r e a t e t h i n g s j u s t a s m y s t e r i o u s
as nature.

T h e f o r m h e r e is n o t s o m u c h e n v i r o n m e n t a l a s f r a g m e n t a l . T h e frag-
m e n t s a r e different as t o scale a n d t i m e , t h o u g h t h e y a r e all r e l a t e d . Y o u a r e
t o i m a g i n e t h e m i s s i n g , t h a t is, w h a t is c a l l e d n e g a t i v e s p a c e o r a b s e n t m a t -
t e r , c o u n t s f o r s o m e t h i n g . T h e s e a r e r i p s o u t of r e a l i t y , p e r c e p t i o n s like
s n a p s h o t s , e m b o d i m e n t s of g l a n c e s .

( T h e r e isn't a t h i n g y o u c a n say a b o u t art t h a t d o e s n t s o u n d like corn!)

G o o d s a r e e x a l t e d . T h e j o y t h a t p e o p l e find i n g o o d s , w h i c h t a k e s t h e m
o u t of t h e i r c i p h r o u s e x i s t e n c e a s c o n s u m e r s . G o o d s as a metaphysical
mystical "Supply". Simple bright goods are exalted, proletarian goods.

a t o u c h of l i n e a n d d o t m a k e s s u c h a d i f f e r e n c e

T h e Store
m a y b e b e t t e r u n d e r s t o o d if i t is c o n s i d e r e d n o t i t s e l f a p s y c h o l o g i c a l
s t a t e m e n t b u t a c o l l e c t i o n of p s y c h o l o g i c a l s t a t e m e n t s w h i c h e x i s t con-
c r e t e l y i n t h e f o r m of s i g n s a n d a d v e r t i s e m e n t s . P l a c e m e n t a n d relation
u n f i x e d , f r e e . A n i m i t a t i o n n o t of n a t u r e o r n a t u r e i n t h e c i t y b u t nature
a l t e r e d t o w a r d p s y c h o l o g y , w h i c h is t o s a y : t h e t r u e " l a n d s c a p e " of the
city.
^ ^ '
51 I t is i m p o r t a n t t o m e t h a t a w o r k of a r t b e c o n s t a n t l y e l u s i v e , mean
m a n y d i f f e r e n t t h i n g s t o m a n y d i f f e r e n t p e o p l e . M y w o r k is a l w a y s o n i t s
w a y b e t w e e n o n e p o i n t a n d a n o t h e r . W h a t I c a r e m o s t a b o u t is i t s l i v i n g
possibilities.

T h e o r i g i n a l i d e a of T h e S t o r e w a s a s i m p l e o n e t o fill a space
w i t h o b j e c t s s u c h a s t h o s e i n a n y k i n d of s t o r e , b u t t h i s w a s n o t s a t i s f a c t o r y
as I p r o c e e d e d . T h e p r o b l e m b e c a m e h o w to individualize t h e simple ob-
jects, h o w to surprise t h e m fragmentation, gigantism, obsession. My
p i e c e is c a l l e d a s t o r e b e c a u s e l i k e a s t o r e i t is a c o l l e c t i o n of o b j e c t s r a n -
d o m l y p l a c e d in space.

o n e ' s o w n b o d y t h e f o r m of c h a n g e
k e e p f o r m e v e n a f t e r m a k i n g , i n a s i t u a t i o n of c h a n g e
not only mechanical b u t psychological
m o v i n g s c u l p t u r e s a r e often all fixed
mine are not
t h e l a w of m y w o r k is t i m e
change

cock a n d balls
cock a n d balls equals tie a n d collar
equals leg a n d b r a equals stars a n d stripes
flag equals cigarette package and
cigarettes

heart equals balls a n d triangle


equals (upside down) girdle and stockings
equals (sidewise) cigarette package equals
flag
'-.:

T h e s t o r e t r i e s t o o v e r c o m e t h e s e n s e of g u i l t c o n n e c t e d w i t h m o n e y
a n d sales w h i c h t h e artist h a s either inherited or to rationalize his lack
of a b i l i t y t o m a k e m o n e y . I t is t o s a y m o n e y is l i f e ( l i k e B o s s m a n ) i t is
p l e n t y . . . i t is p s y c h o l o g i c a l . . . a r t i c l e s a r e c h i l d o r s u b s t i t u t e . . .
C o m m e r c e is o r g a n i c a n d p s y c h o l o g i c a l
T h u s again, unity n o separation b e t w e e n c o m m e r c e a n d art

T r a n s v e s t i t i s m of g a r m e n t i n d u s t r y
s e w i n g is a n a r t i s n ' t i t

-
~ r

53 E v a n e s c e n c e is n o t j u s t a t h e o r y i t is p a r t of m e . C o m e a n d g o . N o t h -
i n g I d o is a t h e o r y b u t is m e .

a girl w i t h l o n g d o w e l l e g s a n d w h i t e stockings, a c h e r r y r e d dress, mail-


ing a letter

a k i d w i t h s l e e v e s of w h i t e s h i r t r o l l e d u p t a p p i n g a s h e s f r o m h i s c i g a r e t t e
on the stone steps

shirt f r a g m e n t
black fragments
white duck
cars
planes (subs)
p i e c e of c l a y ( d a y ) -
landscape =
beach
blot (plot)

m o n u m e n t s to love
tombs to love
b u r i e d b e h i n d glass
the store w i n d o w s
the store cases

windmills
invisible forces
piglet
goose
boat
puppet show
house white
f u l l of l i t e
T h e s t o r e e x p r e s s e s a k i n d of c o n t e m p t o r d i s i n t e r e s t i n c o l o r , o r i t e x - 54
p r e s s e s t h e e x p a n s i o n of c o l o r i n t o f o r m i n s p a c e , t h a t i s t h e s u p e r t e x t u r e
s u p e r c o l l a g e . M y t h e m e is h e r e a s o f t e n t h e e x p a n s i o n of p t g i n t o a c t u a l
s p a c e , t o w a r d s s c u l p t u r e , a n d t h e p u n s a b o u t i l l u s i o n , w h i c h is a c t u a l a n d
a c t u a l i t y w h i c h is i l l u s i o n . T h e r e l a t i o n of p a i n t i n g a n d s c u l p t u r e f r o m t h e
v a n t a g e p t of s c u l p t u r e , w h e r e a s j i m ' s v a n t a g e p o i n t is p a i n t i n g a n d he
e x p r e s s e s c o n t e m p t f o r s c u l p t u r e . T h a t is h i s j o k e s a r e a b o u t b u i l d i n g w i t h -
out architecture.

food = love
metrecal = d e a t h of l o v e

i h a v e just h a d a n insight
r e d is r e d d e r t h a n g r e e n , m e a n e r t h a n y e l l o w , a n d
bloodier than black

T h e flag i n c o l o r e q u a l s t h e f r e e p a i n t i n g ( b o t h c l o t h )

M y i d e a of a n e n v i r o n m e n t a l p i e c e is t h a t q u i t e a l a r g e a r e a (the
larger the better) ought to b e controlled a n d a n y t h i n g a n d all w h o
enter this space b y c e r t a i n r a d i a t i n g p i e c e s o r c l u s t e r s of f o r m and
c o l o r . T h i s c o n c e p t i o n f o r m e i n v o l v e s b o t h t h e p o w e r of p u r e f o r m and
c o l o r a n d a l s o m y b e l i e f i n m a g i c . A g r e a t d e a l of t r i a l a n d e r r o r and
thought a n d care goes into making certain that these centers d o their
work.

m y a r t is a r e s o l u t i o n of o p p o s i t e s :

opposites
in subj t h e o r d i n a r y a n d t h e extraordinary
in form t h e a e s t h e t i c a n d t h e u n a e s t h e t i c
solidity a n d bodylessness
pathos a n d indifference
mystery and commonplace
etc.

_m. ,
Cloth, d i p p e d in plaster
Dropped on chickenwire
Painted with enamel
_MMf _ H I
B :

Bfi. tfjl BB
K r a. m

.BBf TV' *
v'.*if 1
1
V (1
J ft * ' '_ 4 *

4... ,


_r _N Er
1
^ P J i__r* v.

UK-- _HllBBl H'JbJQI _?9l l^p

*
Bl__wi. PTwk

#.

T h i s is p a i n t vs. sculpture.
. do-^i a a n h o l e roll firehosa
v
mouaet&ll gray photot*i**f
4.
*4wr h e a p e d up tabid with a radio in it. ifea 8etfeing frying d.n

the stove

^rmlfifv* ^mi-i-i. i|ni.in, H . ry| flftiffiy eqiailf i if g; & b r a m p u f l n mi M " i

Nwad*t#4re#-

ottt t r i a n g l a #4ual* (upside-down) girdla and

IronAor^a - arms race

Who i e t h a - h u m t h a . r a g . . - a a a * i n my draama

Store windows aa aofiala" f o r oluatare Eyacluatars.

New Y o r k - paper and plaater Chicago - mat&llio SF - vaporous

P-town - woody

Ka^p t h a stora open a half year and than aall it whole. Hava it

transferred to bronza

Juat now I am i n d u l g i n g my f e m i n i n i t y p*^ " ^ Q ^

I want'thasa piaco.# to have an "unbriAlad i n t o n e eatanio vulgarity

unsurpassable, and yet be "art*

Yellow bananatruck

Art aust'to~,..#avag'9 a n d aaglisaaL

Mt*na098 a n d p r e s e n o a a of death, m e m o r i a l ft a n d c h a r m s to kaeai

leath at bay. In ay&v e y i n g axj^arianCa which I aim a t 1 f i n i I


Jr JF jt *F /
mat aa/lifn d*ath 1 lika'Callma c o n s t a n t ana of

(death/ / / /

X want the plaa i k e t h XOp year accumulation in #c-ry

alu bst--hr^oiB_ar--

Potatoes our apacialty. Night: paraona draasad as junk lie in


\
tha lot
smaller pieces determined b y scraps 60

e v e r y t h i n g o u g h t t o b e u s e d f. e x . if o n e h a s a w i f e

at last a gallery a useful lively p l a c e

i m i t a t i o n of g a r m e n t s h o p s

rainbows
taxicabs
patent leather
dust
m o n u m e n t s (in the sun)

i w a n t e d t o s e e if i c o u l d m a k e s i g n i f i c a n t f o r m o u t of a p a i r of l a d y s p a n t y s .
toothbrush small leg

M y a p p r o a c h is a d i r e c t s t r o n g v u l g a r i t y
Lisztian Beethovian Bruegelian Orozcoan W h i t m a n i a n Rabelaisian
including delicacy

T h i s e l e v a t i o n of s e n s i b i l i t y a b o v e b o u r g e o i s v a l u e s , w h i c h is a l s o a
s i m p l i c i t y of r e t u r n t o t r u t h a n d first p r i n c i p l e s , w i l l ( h o p e f u l l y ) destroy
t h e n o t i o n of a r t a n d g i v e t h e o b j e c t b a c k i t s p o w e r . T h e n t h e m a g i c i n h e r e n t
in t h e u n i v e r s e will b e r e s t o r e d a n d p e o p l e will live in s y m p a t h e t i c religious
e x c h a n g e w i t h t h e materials a n d objects s u r r o u n d i n g t h e m . T h e y will not
feel so d i f f e r e n t from these objects, a n d t h e a n i m a t e / i n a n i m a t e schism
m e n d e d . W h a t is n o w c a l l e d a n a r t o b j e c t is a d e b a s e d u n d e r s t a n d i n g of a
m a g i c o b j e c t . W h e n o u r v i s i o n is c l o u d e d b y b o u r g e o i s v a l u e s a n d b y r e -
moval from an actual functional situation (through museum-civilization)
t h e p o w e r of t h e o b j e c t w c h w a s a f u n c t i o n i n g o b j e c t b e c o m e s suspended
a n d o n l y i t s a r t i f i c i a l i t y , t h a t is i t s c r a f t a n d d e s i g n ( w h i c h a r e t h e l o w e s t
a n d e a s i e s t of c r e a t i o n s ) , a r e n o t e d . T h i s is " a r t . " T h i n k h o w m a n y c h i l d r e n
a d a y a r e b e i n g p e r v e r t e d i n t o a r t a n d t h e i r n a t u r a l r e c o g n i t i o n of the
m a g i c in objects s t a m p e d out!
4 n
T h e e r o t i c o r t h e s e x u a l is t h e r o o t of " a r t " , i t s first i m p u l s e . Today 62
s e x u a l i t y is m o r e d i r e c t e d , o r h e r e w h e r e I a m i n A m . a t t h i s t i m e , t o w a r d
s u b s t i t u t e s f . e x . c l o t h i n g r a t h e r t h a n t h e p e r s o n , f e t i c h i s t i c stuff, a n d t h i s
g i v e s t h e o b j e c t a n i n t e n s i t y a n d t h i s is w h a t I t r y t o p r o j e c t .

As everyone m i g h t k n o w . . .
No, everyone doesn't . . .
I o p e r a t e , idea-wise, far a b o v e t h e g r o u n d , b u t I h a v e a c o m p u l s i o n (which
is n o t t h e d e s i r e f o r r e s p e c t a b i l i t y ) t o r e l a t e m y s e l f t o w h a t is o n t h e g r o u n d ,
r e g a r d l e s s of t h e d i s t o r t i o n o r a t t a c k o n m y i d e a s w h i c h t h i s i n e v i t a b l y r e -
sults in.
T h a t is i n f a c t the store
E t h i c a l l y I s e e n o r e a s o n t o r e m o v e m y s e l f f r o m life, h o w c a n o n e ? and
still b e e t h i c a l . . .
I t is a n e c e s s a r i l y l o s i n g b a t t l e , u n d e r t a k e n of my own free will ( w h i c h is
i m p o r t a n t ) . I t h i n k i t is n e c e s s a r i l y a f a i l u r e .

p l e a s e s m e t o b e uselessly ( f o r its o w n s a k e ) m e t h o d i c a l a n d s y s t e m a t i c
( e s p e c i a l l y a s a n a r t i s t w h o is i n t h e c l i c h e n o t s o ) l i k e t h e w o r l d of b u s i n e s s
science e n g i n e e r i n g sales
w i l l i s e n t i m e n t a l i z e 5 7 t h St. t o o
I n p l a c e of c h a n c e
whimsical or useless activity
s a t i r e is n o t t h e w o r d

W h y d o I n o t j u s t p r e s e n t t h e r e a l t h i n g i n s t e a d of i m i t a t i n g i t ? B e c a u s e
m y d e s i r e t o i m i t a t e e x t e n d s t o t h e e v e n t o r a c t i v i t y of m a k i n g t h e t h i n g I
i m i t a t e . I n o n e i n s t a n c e t h a t is t o b e f o r a m o m e n t a s i g n - p a i n t e r , i n a n o t h e r ,
f o r a m o m e n t a b a k e r of c a k e s , i n a n o t h e r t h e c u t t e r of s u i t s , e t c . e t c . I n
s o m e c a s e s e s p e c i a l l y , b u t r e a l l y i n a l l , i t is n e c e s s a r y t o b e f o r a m o m e n t
n a t u r e h e r s e l f , if t h i s is p o s s i b l e . I n h a n d l i n g p l a s t e r a n d e n a m e l I w a s b e -
h a v i n g like t h e p a i n t e r w h o w a s a t t h e s a m e t i m e p a i n t i n g m y stairway.
W h e n I c a r r y m y plaster a n d p a i n t s u p t h e stairs, t h e n e i g h b o r s a s s u m e I
am improving m y home.
I n T h e S t o r e I a m n a i v e l y r e c o n s t r u c t i n g a n a c t of v i s i o n , a k i n d of
l i t e r a l - s c i e n t i f i c a p p r o a c h . ( H e r e a g a i n t h e a n a l o g y of t h e l i g h t n i n g t r a p p e d
in sand applies).

I a m i m p u r e . I a m f e e l i n g a n d s k i l l . I t m i g h t e v e n b e s a i d of m e t h a t
I corrupt by m y presence.

I have not remained unintellectual but uninformed. Apart from ideas.

a b s u r d i m i t a t i o n s ( i . e . u s e l e s s ) of p e r f e c t l y s e n s i b l e a n d u s e f u l p u r s u i t s .

absurd carpentry d r e s s m a k i n g etc.



65 I t is i m p o r t a n t t o o p e r a t e o u t of t h e f o r c e s i n u s , f o r c e s a n d counter-
forces a n d n o t to b e afraid to use t h e m . Just n o w I a m indulging m y femi-
n i n i t y f. e x .

b r i t t l e n e s s of H y d r o c a l f o r c e d r i e d b y g a s h e a t c o m p a r e d t o h a r d n e s s of H C
not forcedried

Pieces suspected:
Pecan pie
Sundae
B a n a n a Split
3 ( 2 ) pies Javatime
2 candybars

M y s i n g l e m i n d e d a i m is t o g i v e e x i s t e n c e t o ( m y ) f a n t a s y . T h i s m e a n s
t h e c r e a t i o n of a p a r a l l e l r e a l i t y a c c o r d i n g t o t h e r u l e s of ( m y ) fantasy.
I a m compelled to d o this to a greater degree t h a n most painters.
T h i s w o r l d c a n n o t e v e r h o p e t o r e a l l y exist a n d so it exists e n t i r e l y
t h r o u g h i l l u s i o n , b u t i l l u s i o n is e m p l o y e d a s s u b v e r s i v e l y , a s c o n v i n c i n g l y
as possible.
T h e c r i t i c a l m o m e n t is m y a c t of s e e i n g . T h e r e s t is t h e p a t i e n t r e c o n -
s t r u c t i o n of t h i s h a l l u c i n a t i o n a n d s u c c e s s i v e h a l l u c i n a t i o n s w h i c h a r i s e i n
t h e c o u r s e of m a k i n g .
T h e c o n t r i b u t i o n of s u b j e c t m a t t e r is a l m o s t a s i d e e f f e c t s i n c e w h a t
I s e e is n o t t h e t h i n g i t s e l f b u t myself in its f o r m .
E x p e r i e n c e , t h a t is t o s a y , is m a t e r i a l for a n a c t of r e c o g n i t i o n , a n d
h a v i n g r e c o g n i z e d s o m e t h i n g , t h e j o b o n e c o u l d a r g u e is d o n e , t h e r e s t b e i n g
t h e a c t of g i v i n g e v i d e n c e .
E x p e r i e n c e is t h e p r i m a r y m a t e r i a l & t h e n p l a s t e r a n d p a i n t . I n the
c a s e of t h e a t e r , e x p e r i e n c e is b o t h t h e first a n d t h e s e c o n d m a t e r i a l .
T h e c o n t e n t is a l w a y s t h e h u m a n i m a g i n a t i o n . T h i s I r e g a r d b o t h a s
historically constant a n d as universal a m o n g individuals. T o present the
g e o g r a p h y of t h e h u m a n i m a g i n a t i o n is m y a i m , w i t h r e a l m o u n t a i n s and
cities.
HI
68

First Draft

S T O R E D A Y S I

Period 1 : A Customer Enters.


Period 2 : A Bargain!
Period 3 : H o w T h e Founders Struggled.

R o o m 1: T h e B e d R o o m - J a i l
R o o m 2: T h e Kitchen-ButcherShop
Room 3: T h e LivingRoom-Funeral Parlor-WhoreHouse

F e b . 12, 1962
69 ROOM 1

Costume: b o w tie, jacket, w h i t e shirt, p a n t s . P i n k feet.


Spirit: coral-pink p a r t y dress, $5 O r c h a r d St. or 116th St. style w i t h p a p e r u n d e r
to rustle a n d p a p e r too in t h e h a m m o c k .
H a m m o c k slit a n d b l a c k m a t e r i a l , slit c o r r e s p o n d i n g l y , h u n g b e l o w .
O n walls: p i n - u p s , s t a t u e of liberty, boxers, autos, in t h e m a n n e r of t h e b a s e -
m e n t r o o m of t h e h a n d y m a n at G e o r g e Segal's farm.
A b e d , v e r y u n m a d e . D i r t y sheets, pillow. A b o t t l e or t w o in b e d . Comics. T h e
floor c o v e r e d w i t h n e w s p a p e r s a n d clothing, a n d o t h e r d e b r i s from t h e street.
Lighting: b a r e b u l b s f r a m e scene, h u r t eyes of spectators. T o left a d o o r a n d
a hole, t h r o u g h w h i c h t h i n g s will enter.
A chair, l a d e n w i t h clothes a n d objects. P o c k e t s of jacket stuffed w i t h various
materials. M a n u n s h a v e n .
Spirit m a k e u p a la L E S school girl, p a n c a k e w h i t e , w h i t e lips, d a r k e n e d eyes,
b r o w s p l u c k e d in s h a p e of c h u n k y little birds, h a i r p i l e d u p e t c or a n y variations of
same.
As a u d i e n c e enters, spirit is r o c k i n g slowly a b o v e , t h e p a p e r in h e r skirts a n d
in t h e h a m m o c k r u s t l i n g softly. T h e m a n sits o n t h e e d g e of t h e b e d w i t h his socks
in his h a n d s . This is t h e static tableau or position number 1. I t is h e l d until t h e
a u d i e n c e is settled or until m o r e precisely e n d of first s u b - p e r i o d ( 2 m i n s ) .

P e r i o d 1: The Sock

T h e m a n d r o p s his socks on t h e floor. A bell rings. A p a c k a g e is p a s s e d h i m


from t h e o p e n i n g in t h e left wall. H e sits d o w n a n d u n w r a p s it. I t is a p a i r of socks
a n d a b o o k a n d a c a n of t o m a t o juice. W h a t does h e c a r e ? H e lets it all d r o p o n
t h e floor.
H e pulls t h e s h a d e d o w n b e t w e e n r o o m s 1 a n d 2 a n d l i g h t n i n g is p r o j e c t e d o n
t h e s h a d e . S o u n d of foghorns. H e tosses on his b e d . T h e spirit lowers a h a n d , d a n g l e s
it. A leg, d a n g l e s it. T h e objects o n t h e floor m o v e . T h e ceiling sways.

end of period 1

Blue b u l b s d u r i n g positioning, a l w a y s lit. 2 m i n u t e s of n e a r - d a r k n e s s . T h e m a n


r e m o v e s his coat a n d h a n g s it o n t h e wall. H e lies d o w n a n d ties himself t o t h e b e d
w i t h o n e i n c h r o p e . H e lies looking s t r a i g h t u p . T h e h a m m o c k c o n t i n u e s its g e n t l e
undulation.
P e r i o d 2: The Shirt 70

A h a r d roll full of j a m is d r o p p e d on t h e m a n ' s shirt from a b o v e . H e frees o n e


of his h a n d s a n d eats it partly. F r o m a b o v e a n d b e h i n d h i m (left w a l l ) a p i p e enters.
W a t e r r u n s o u t of it. H e looks u p at it. I t goes a w a y .
T h e floor m o v e s ( c o u l d b e a p e r s o n d r e s s e d as t h e floor). T h e leg p r o t r u d e s
d o w n again. Milk is p o u r e d d o w n a r o u n d it. T h e m a n c o u g h s violently. H e ties h i m -
self t i g h t e r . T h e unfinished roll falls off his s t a i n e d shirt. T h e r a d i o goes on w i t h
d i s t a n t s e n t i m e n t a l music.

end of period 2

Position 3
T h e m a n takes off his shirt. S t a n d s on t h e b e d .

P e r i o d 3: The Shoe

T h e m a n kneels. H e prays. His m o u t h moves. A glove is s l i p p e d in t h r o u g h t h e


hole. H e kisses it. A g a i n h e s h a k e s it. H e gets o n t h e floor o n his knees, looking for
his shoes u n d e r t h e b e d . E v e r y w h e r e .
T h e spirit d r o p s coins, w h i c h fall on t h e floor . . . f e a t h e r s . . . fruit . . . b e r -
ries . . .
T h e m a n crawls u n d e r t h e b e d . H e e m e r g e s , his face c o v e r e d w i t h s h a v i n g c r e a m .
H e sits d o w n to p u t o n his shoes, w h i c h h e h a s f o u n d . T h e p i p e r e t u r n s , p o u r i n g
water.
T h e spirit b e g i n s sliding d o w n from t h e h a m m o c k t h r o u g h its c e n t e r slit. H e r
skirt is c a u g h t a b o v e a n d w e see h e r legs a n d u n d e r w e a r , t h e n a r o u g h c a s c a d e of
n e w s p a p e r s , finally herself. She d r o p s l i m p l y to t h e floor in a h e a p ( t o b e a slow
a n d beautiful a c t i o n ) .
H e c o u g h s . H e h a s o n e shoe on. H e limps a b o u t looking for t h e other. H e tears
s o m e p i c t u r e s off t h e wall. H e swears softly.

end of period 3
(and STORE D A Y S O N E , R O O M 1)

"
7 1 ROOM 2

A k i t c h e n - b a t h r o o m sink a n d stove. T u b a n d s h o w e r to r i g h t w i t h h o s e from


sink. T a b l e in m i d d l e w i t h t w o chairs a n d o n it a n e l e v a t a b l e t o p w i t h c r e a t e d food.
A n o t h e r t o p w i t h food u n d e r it. P e r h a p s a t h i r d . Stove is n o t o p e r a t i n g . O v e n stuffed
w i t h n e w s p a p e r p a i n t e d b r o w n like fried chicken.
T w o persons, m a n a n d w o m a n . W o m a n d r e s s e d in T - s h i r t w i t h a p i c t u r e on it.
T h e h u s b a n d in a l o n g u n d e r w e a r shirt. W o m a n a t sink. M a n a t t h e t a b l e . A cut-
t i n g b o a r d to h e r left full of v e g e t a b l e s a n d m e a t . A n alcove full of groceries a n d
m e a t s in b a g s a n d s t r u c t u r e s w h i c h m a y in s o m e simple w a y b e m a d e t o fall d o w n ,
a b o v e t h e sink. Sink full of dishes.
A b o v e a u d i e n c e in "attic," o p e r a t o r T w o , w h o is or is n o t s a m e p e r s o n as R o o m
2 spirit, a girl, n u d e , or so a p p e a r i n g , a c i g a r e t t e a d v e r t i s e m e n t type, a girl at t h e
b e a c h . L o n g h a i r a n d c i g a r e t t e smoking. H e r s m o k e fills t h e room, h a n g s like a c l o u d
u n d e r t h e light on t h e action. P e r h a p s too, she b u r n s i n c e n s e or tar. She is m a d e u p
w i t h rosy cheeks a n d s t r o n g m a k e u p . L o n g r e d nails, toes a n d fingers.

Position 1
T h e w o m a n b a c k to a u d i e n c e at sink full of d i r t y dishes. M a n a t t a b l e w i t h
d e a d cigar in h a n d . Spirit h o l d s d o w n a p a c k of cigarettes from attic, w h i l e s m o k i n g
with other hand.

Period 1: Dishes

T h e w o m a n turns. M a s c a r a all over h e r face. H o w e v e r , she h a s n o t b e e n cry-


ing. She a p p e a r s jovial. O n e sees h e r tits t h r o u g h t h e T-shirt a n d h e r a p r o n is w e t .
She w e a r s a skirt w i t h h e a r t s all over it. She smiles in a frozen w a y , d i a g o n a l l y across
t h e r o o m a t n o o n e in p a r t i c u l a r .
T h e m a n sneezes a n d p u s h e s all t h e dishes off t h e t a b l e w i t h a s w i n g of his
a r m . T h e t a b l e cloth is s w e p t u p a n d o u t b y a wire. T h e spirit lowers a leg a n d
wiggles h e r toes. T h e w o m a n r e m a i n s smiling. She takes a large c a k e from t h e al-
cove a n d p u s h e s it into t h e m a n ' s face.
She bites a c a p s u l e in h e r m o u t h so t h a t h e r m o u t h floods w i t h w h a t a p p e a r s to
b e blood, w h i c h r u n s d o w n h e r chin. T h e m a n falls over sideways. A sort of b o r i n g
a terrible slapstick scene.

end of period 1

Position 2
T h e m a n r e t u r n s to his seat. Sits s l u m p e d f o r w a r d o n t h e t a b l e in a p l a t e of cold
s o u p ( w h i c h will to s o m e e x t e n t w a s h off c a k e ) . D o n o t d r o w n . T h e w o m a n retains 72
s a m e position, smiling.

Period 2: Conversation

T h e w o m a n comes to life w i t h fast a c t i o n b e g i n s c h o p p i n g l e t t u c e a n d o t h e r


v e g e t a b l e s frantically. She b r i n g s d o w n m e a t a n d c h o p s it too frantically. She o p e n s
a n d closes stove, t a k i n g o u t b r o w n n e w s p a p e r s a n d stuffing in food, t a k i n g o u t a n d
stuffing in . . . R e a c h i n g u p , she causes a g r e a t m a n y t h i n g s to fall d o w n .
She a t t a c h e s s h o w e r hose, r u n s to shower, w e t s herself, w a s h e s herself, w i t h
clothes on. A l w a y s smiling. T h e dishes fall off t h e sink w i t h a g r e a t clatter.
D a r k n e s s . T h e spirits face d e s c e n d s u p s i d e d o w n a n d smoking. T a l k i n g silently
t o s o m e o n e . T h e m a n snores, sneezes in t h e soup.

end of period 2

Position 3
T h e spirits face swings b a c k a n d forth in t h e s e m i d a r k n e s s , h u m m i n g in a h i g h
voice. T h e m a n w i p e s his face a n d sits u p straight, r e a d i n g a m a g a z i n e . T a l k i n g silently
pulls d o w n s h a d e over sink a n d sits d o w n at t h e t a b l e o p p o s i t e t h e m a n .

P e r i o d 3: The Argument

F o r t w o s u b p e r i o d s , slides a r e flashed on t h e screen. T h e m a n h a r r u m p h s . T h e


w o m a n whistles a n d belches.
Lights. She is e a t i n g ice c r e a m w i t h c h o c o l a t e sauce. I t d r o p s on h e r stockings.
S h e s c r a p e s it off w i t h h e r s p o o n b u t it gets a w a y from h e r .
T h e pictures continue vaguely above the two.
T h e w o m a n slams t h e ice c r e a m d o w n sloppily on t h e t a b l e spilling w h a t is left
o u t of t h e glass w h i c h o v e r t u r n s .
D a r k n e s s . M o r e slides. T h e w o m a n sneezes. She cries a n d laughs. She falls over
backwards.
T h e m a n p u t s d o w n m a g a z i n e . H e s t a n d s u p before w i n d o w b e t w e e n second
a n d t h i r d room, stretches. H e picks u p a h a m m e r , t h e n a s a w a n d saws furiously a t
a bench.

end of period 3
and STORE D A Y S O N E , R O O M 2
7 3 ROOM 3

A longer room. W i t h t h r e e s e p a r a t e l y defined p l a y i n g areas. T h e n e a r : a c o u c h


p e r p e n d i c u l a r to a u d i e n c e a n d a closet d o o r ( d o o r also to " o u t s i d e " ) . A b o v e d o o r :
a shelf b i g e n o u g h for a p e r s o n , a b o u t 3 ft. h i g h , 4 ft. w i d e . . . A "slide" b e s i d e t h e
c o u c h u p to or d o w n from t h e shelf. I n c e n t e r , a p a i n t e d fireplace a n d m a n t e l p i e c e
l o a d e d w i t h objects. A b o v e w h i c h , a m u r a l of simple i n t e n t i o n : trees, cows, a p r e t t y
girl or two. As in a b a r or a r e s t a u r a n t . S u b s t i t u t e p e r h a p s a d v e r t i s i n g p h o t o s in
color, c u t o u t a n d p a s t e d .
T h e r o o m is t a n g e r i n e color, w a r m b y c o n t r a s t to t h e o t h e r t w o r o o m s w h i c h
are black a n d w h i t e . I t is " t e c h n i c o l o r . " T h e l i g h t i n g is v e r y b r i g h t b u t c a n b e t o n e d
d o w n to a simple s h a d e d yellow b u l b over a t a b l e a n d a chair in t h e c e n t e r . Objects
on t a b l e are q u i t e i m p o r t a n t ( a s o n k i t c h e n t a b l e a n d floor of b e d r o o m stages
t h e m s e l v e s for small a c t i o n s ) . . . a b l a c k e d o u t s t a t u e of liberty, a c u p , c a r d s . . .
At far e n d a s q u a r e a r e a , o n w h i c h o p e n s a small h i d d e n r o o m ( a t o i l e t ) .
I n this r o o m O p e r a t o r 3 a n d / o r h i d d e n figure. F r o m this, a s p o t l i g h t or b r i g h t
light c a n b e shot o n t o wall, i l l u m i n a t i n g s q u a r e area.
This is a s p a c e for a family plot. T o e a c h a r e a : d a u g h t e r , father, m o t h e r . A shelf
over t h e a u d i e n c e faces a m i r r o r a n d t h e r e is t h e p l a c e of a t h i r d spirit, R o o m 3
spirit, a p i n u p .

Position I
F a t h e r is p l a y i n g c a r d s at t a b l e u n d e r yellow light. D a u g h t e r is at closet, pull-
i n g o u t clothes. T h e shelf a b o v e t h e closet is also full of clothes, all stuffed w i t h
p a p e r . M o t h e r is c u t t i n g m a t e r i a l in t h e corner. S o u n d of h e r scissors in t h e darkness.

P e r i o d 1: Death of Natural Causes

D a u g h t e r p u l l i n g o u t clothes, p u l l i n g t h e m d o w n , a n a v a l a n c h e of b u l g i n g cloth-
ing, c l i m b i n g u p slide to r e a c h t h e m a n d p u l l t h e m d o w n frantically. T h e y t u m b l e
d o w n over her. O n e of t h e m , h e r suitor, e i t h e r in t h e closet or d o w n from a b o v e . She
t h r o w s h i m o n t h e floor. H e too is d r e s s e d in a stuffed suit, p e r h a p s in w o m e n s
clothes. T h e b o t t o m of t h e closet is full of jewelry, p o t s a n d p a n s a n d o t h e r m e t a l l i c
objects, w h i c h d a u g h t e r stirs w i t h h e r feet. H e r heels m a k e a lot of noise. H e r long
h a i r swings this w a y a n d t h a t . D a n c e m u s i c plays.
M o t h e r l a u g h s violently a n d w a l k s t h e l e n g t h of t h e m a n t e l p i e c e a n d w i t h a
d e l i b e r a t e m o v e m e n t p u s h e s d o w n w i t h h e r a r m all t h e objects there. She s t a n d s a t
e n d , smiling victoriously. I n t h e s q u a r e s p a c e s h e left an inexplicable c r e a t u r e a p -
pears. She w a l k s back, p a s t h e r h u s b a n d w h o is still p l a y i n g cards. T h e c r e a t u r e is
gone.
T h e f a t h e r lays o u t all m a n n e r of p e c u l i a r s e n t i m e n t a l a n d r i d i c u l o u s objects o n
t h e table. H e picks his n o s e from t i m e to time.

end of period 1
.-Jw-.. _GWwv . ^a^mA^SkWmr ,<..?&?m

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R A Y G U N T H E A T E R tt

Prod. C. Oldenburg

Schedule

Winter-Spring 1962

STORE DAYS 1st version F e b . 23, 24

2nd version Mar. 2, 3

NEXROPOLIS 1st version Mar. 9, 10

2nd version M a r . 16, 17

INJUN 1st version A p r . 20, 21

2nd version A p r . 27, 28

VOYAGES 1st version May 4, 5

2nd version May 11, 12

Ir/ORLD'S PAIR l3t version May 18, 19

2nd version May 25, 26

N o T h e a t e r b e t w e e n M a r c h 1 7 and A p r i l 20.

All performances in rear three rooms at R a y G u n Mfg.

Co., 107 E . 2nd S t . ( b e t w e e n A v e . A and 1st Ave.),

unless otherwise announced.

Audience limited by available s p a c e to 35 e a c h night.

Reservations necessary. C a l l 0 R 4 - 0 3 3 0 or GR5-4681,

or write.

Performances start at 8 : 3 0 P.M.

over
* S T O R E D A Y S *

Cast

Version 1 : Milet Andreyevich Terry Brook

Billy Kluver Lotty Lou Eisenhauor

Jean Jacques Lebel Gloria Graves*

Claes Oldenburg* Mickey Henrion

Lucas Samaras* Johanna Lawrenson

Pat Oldenburg*
TgCT
TTr~inTrW
?TJIH'!HI1 ~*
Assisting: CAROLEE SCHNEEMANN

Max & Anita Baker

Version 2 : Henry Geldzahlcr Rachel Droxler

Clacs Oldenburg* Gloria Graves*

Lucas Samaras* Pat Oldenburg*

Jackie Ferrara

Charlotte Tokayer

jid o t h e r s . . .

Three ten-minute periods. Two p a u s e s . No intermission.

* Repertory cast.
/ /

B u d g e t for Theater

M y t h e a t e r activity in t h e c o m i n g season I w o u l d like to b e in two


m a n n e r s . T h e first is a r e p e r t o r y t y p e of t h e a t e r , t o g i v e s h o r t p e r f o r m a n c e s
a t r e g u l a r i n t e r v a l s , f.ex. e v e r y t w o w e e k s , o n S a t u r d a y s 10 PM. These
w o u l d b e h e l d in M y Store, or T h e R a y - G u n M f g Co., 107 E. 2 n d St.,
N . Y . C . i n s i d e t h e s t o r e o r i n t h e c o u r t y a r d b e h i n d t h e s t o r e , w h i c h is q u i t e
large. Since these performances would be comparatively brief, a small
a m o u n t w o u l d b e c h a r g e d for a d m i s s i o n , f.ex. 50^, a n d t h e a u d i e n c e w o u l d
h a v e to b e r a t h e r small. T h e s e p e r f o r m a n c e s w o u l d occur o n e t i m e only
a n d b e i m p r o v i s e d o u t of a v a i l a b l e m a t e r i a l a n d a v a i l a b l e p e r f o r m e r s , with
no great expense. T h e r e w o u l d not n e e d to b e any advertising, I think. In
f a c t , a d v e r t i s i n g m i g h t b r i n g t o o m a n y p e o p l e . I t is b e t t e r t o b e w o r d o f
m o u t h . T h i s r e p e r t o r y w o u l d b e l i k e a w o r k s h o p of i d e a s a n d p o s s i b i l i t i e s
s u r r o u n d i n g m y c o n c e p t of p e r s o n a l t h e a t e r , a n d n o t s o m u c h d i r e c t e d at
t h e g e n e r a l p u b l i c as a t o t h e r artists a n d c o n n o i s s e u r s i n t e r e s t e d in d e v e l o p -
m e n t s a l o n g t h i s l i n e . O n t h e b a s i s of o n e p e r f o r m a n c e e v e r y t w o w k s . a n d
starting in O c t o b e r , t h e r e w o u l d b e a b o u t 14 performances. A s s u m i n g a b o u t
3 5 s p e c t a t o r s c a n b e a c c o m m o d a t e d , t h e r e w o u l d b e a n i n c o m e of $ 1 7 . 5 0
p e r p e r f o r m a n c e . A s u p p l e m e n t a r y b u d g e t of $ 2 5 w o u l d b e n e e d e d f o r e a c h
p e r f o r m a n c e , or for 14 perfs $350.
T h e store an efflorescence a d d i t i v e principle clusters a g g l o m e r a t i o n s 80
magnetic attractions extension flaming chairs and tables outrushing pic-
t u r e s o n t h e w a l l m o v e a b l e s all m o v i n g e a r t h q u a k e Torn-birth flesh-
f r a g m e n t s . I t h i n k of s p a c e a s m a t e r i a l a s I t h i n k of t h e s t a g e a s a s o l i d
c u b e o r a b o x t o b e b r o k e n . T h a t air a n d t h e t h i n g s i n it a r e o n e , are
H A R D , a n d t h a t y o u c a n R I P a p i e c e of a i r a n d t h e t h i n g o u t of it, s o
t h a t a p i e c e of o b j e c t a n d a w h o l e o b j e c t a n d j u s t a i r , c o m e s a s o n e p i e c e .
T h i s is a c c o m p a n i e d b y a R I P P I N G SOUND

T h e s t a r t i n g p o i n t of t h e r e a l i s t is t o b e t h e s c i e n t i s t . N a t u r e means
n o t h i n g b y i t s e l f . M a n s u p p l i e s t h e m e a n i n g of t h i n g s . M y t h e a t r e , which
m a y b e c a l l e d t h e t h e a t r e of t h e r e a l o r t h e t h e a t r e of t h e o b j e c t , is a
m e e t i n g p l a c e of r e a l i s t i c a n d s u b j e c t i v e n a t u r e w h o s e s e n t i m e n t a l rep-
r e s e n t a t i o n is j u x t a p o s e d w i t h n o n - s e n t i m e n t a l .

A t h e a t e r of a c t i o n o r of t h i n g s ( p e o p l e t o o r e g a r d e d a s t h i n g s )

b u t a b o v e a l l , a m i w o r t h c o m i n g t o s e e ? i t is a p o o r m a n ' s t h e a t r e a n d t h e
l e a d is a b e g g a r .

A s e r i e s of p l a y s d e a l i n g w i t h t h e U S c o n s c i o u s n e s s , r e a l l y n o n c o n c r e t e
i n c o n t e n t t h o u g h e x p r e s s e d c o n c r e t e l y . T h e c o n t e n t is t h e U S m i n d o r t h e
U S " S t o r e " . T h i s is n o t u n d e r s t o o d . D e s p i t e w h a t I s a y , t h e p i e c e s are
called h a p p e n i n g s . I m i g h t h a v e d o n e h a p p e n i n g s or m a y d o in t h e future
b u t t h e s e a r e n o t m y i d e a of t h e m . R G is s o m e t h i n g e l s e , c l o s e l y r e l a t e d t o
m y Store pieces. It seeks to p r e s e n t in e v e n t s w h a t t h e store p r e s e n t s in ob-
j e c t s . I t is a t h e a t e r of r e a l e v e n t s ( a n e w s r e e l ) . . . Have shorts?

G i v i n g hair a n d muscles a n d skin t o t h o u g h t s

5 5 5
81 N o t h i n g is c o m m u n i c a t e d o r r e p r e s e n t e d e x c e p t t h r o u g h i t s a t t a c h m e n t
to an object ( e v e n t h o u g h t h e object will m e a n different things at t h e s a m e
m o m e n t t o d i f f e r e n t p e o p l e ) . . . I t is t h e p l a y of c o n s c i o u s n e s s i n r e a c t i o n t o
c e r t a i n o b j e c t s . . . a p l a y w h i c h i n v o l v e s t h e c o n s c i o u s n e s s of m y s e l f my
a c t o r s a n d m y a u d i e n c e . . . T h i s differs f r o m c o n v e n t i o n a l t h e a t e r in t h a t
t h e c o m m u n i c a t i o n is l e s s fixed . . . m o r e i n d o u b t . . . t h e r e is a s e q u e n c e
b u t n o t p l o t o r g i v e n r e l a t i o n of t h e e v e n t s a n d o b j e c t s as t h e y o c c u r . . . t h e
s e q u e n c e is p u r e l y a p r a c t i c a l d e v i c e . . . p l o t t o m e is s e n t i m e n t a l i t y , p r e -
d e t e r m i n a t i o n , a n a r r o g a n c e o n t h e p a r t of a n a u t h o r , a h a r m f u l fabrication
w h i c h c r e a t e s a r e s i d u e of s e n t i m e n t a l p a t t e r n s t h a t k e e p m e n f r o m per-
ceiving experience . . . this theater aims to m a k e m a n c o m p o s e experience
a s i t c h a n g e s a c o n s t a n t p l e a s u r e a n d a n i n s t r u m e n t of s u r v i v a l . . .

W h o is t h e b u m t h e R a g M a n of m y d r e a m s

T h e t h e a t e r d i f f e r s f r o m t h e s t o r e i n t h a t t h e o b j e c t s of t h e s t o r e a r e
r e p r o d u c t i o n s , r e c o n s t r u c t i o n s o r a l t e r a t i o n s of t h e a c t u a l o b j e c t . T h i s is a l s o
a n a n t i neorealist expression. I h a v e t r i e d to r e p r e s e n t m y consciousness in
r e l a t i o n t o t h e a c t u a l o b j e c t a t t h e m o m e n t o f m y p e r c e p t i o n of it. T h i s is
c o m p l i c a t e d b y t h e f a c t s of c o n s t r u c t i o n . . . a n d t h e r e is o n l y o n e w a y t o
h a n d l e t h i s : t o t r e a t t h e m a t e r i a l s a s a c o m p l i c a t i n g f a c t o r of t h e object,
t h e m s e l v e s o b j e c t s of c o n s c i o u s n e s s . O n t o p of t h i s I h a v e c o m p l i c a t e d t h e
o b j e c t b y i n t r o d u c i n g c o n v e n t i o n s of p o p u l a r r e p r e s e n t a t i o n a n d artistic
p r a c t i s e ( a s o r t o f t r a v e s t y ) . T h e o b j e c t is a r e c o r d of p a s s a g e t h r o u g h t h e s e
c o m p l i c a t i o n s . . . a n d m u s t b e s e e n as itself a n d n o t in r e l a t i o n t o any
t h e o r y . T h e a i m of p u t t i n g t h e s t o r e i n a n a c t u a l n e i g h b o r h o o d is t o con-
trast it t o t h e a c t u a l o b j e c t . . . n o t as m i g h t b e t h o u g h t in neorealist
t e r m s t o p o i n t u p s i m i l a r i t i e s . . . T h e s t o r e t i t l e is i n f a c t a p l a y o n w o r d s . . .
t h e store m e a n s for m e : m y consciousness. . . .

I n t h e s t o r e t h e n , t h e w o r k is a s if d o n e f o r t h e s p e c t a t o r w h e r e a s i n R G
theater, using actual objects ( t h o u g h affected b y situation) .. . t h e spectator
h a s m o r e l a t i t u d e i n p e r c e p t i o n . . . a c t u a l l y t h e r e is a l w a y s t h i s l a t i t u d e
e v e n in relation to t h e p r e p a r e d o b j e c t . . .
83 m y characters are the city-bird-child (chick) and the beggar, inno-
c e n c e a n d e x p e r i e n c e , t h a t is m y t h e m e : i n n o c e n c e v s . e x p e r i e n c e ( o r e v i l ) .
g o o d vs. evil, c o m i c i n n o c e n c e , p a t .

F a r c e for O b j e c t s , in a b r i g h t light .

A black and white (upholstered) white convertible


Gold shoes
W a t e r (in the gutter)
A n iron . . . in t h e s u n

I a m v e r y grateful to t h e a u d i e n c e for c o m i n g e a c h w e e k e n d . I c a n n o t
d e n y i t is g o o d t o h a v e a n a u d i e n c e , t h o u g h t h e n a t u r e of t h i s t h e a t e r is s u c h
t h a t it w o u l d g o o n w i t h o u t a n a u d i e n c e as a p a i n t e r m i g h t g o o n p a i n t i n g
w i t h n o o n e t o w a t c h h i m . . . T h i s s p a c e h a s g r e a t l i m i t a t i o n s , I a m a w a r e of
this . . . partly I enjoy t h e pressure these limitations p u t on m e . . . I m e a n
the time, the expense a n d the space . . . I h o p e you are not too miserable
. . . m y a i m is t o d e v e l o p u n d e r t h e s e c o n c e n t r a t e d c i r c u m s t a n c e s a s o r t of
k e r n e l of i n f i n i t e e x p a n s i o n . . . s o t h a t a t t h e e n d of t h i s s e a s o n I s h a l l h a v e
t e n e x t r e m e l y p o w e r f u l s e e d s . . . I t is b e c o m i n g o b v i o u s I g u e s s t h a t t h e s e
pieces a r e n o t u n r e l a t e d . . . t h e " h a p p e n i n g " w h i c h w a s in t h e b e g i n n i n g a
v e r y l i m i t e d f o r m is b e a r i n g f r u i t a s a n e w p h y s i c a l t h e a t e r , b r i n g i n g t o t h e
d r y p u r i t a n f o r m s of t h e U S s t a g e t h e p o s s i b i l i t i e s of a t r e m e n d o u s e n v e l o p -
ing force. . .
T h e a t e r is t h e m o s t p o w e r f u l a r t f o r m t h e r e is b e c a u s e i t is t h e m o s t
i n v o l v i n g . . . b u t i t is f o r e v e r b e c o m i n g l o s t i n t r i v i a l i t i e s . . . l o s s of p o w e r is
a c h r o n i c d i s e a s e of t h e f o r m . . . r e a l i s m . . . d i s t a n c e . . . c o m m e r c i a l p r e s -
sures . . . poor theater . . . I n o longer see t h e distinction b e t w e e n theater a n d
visual arts very clearly . . . distinctions I suppose are a civilized disease . . .
I s e e p r i m a r i l y t h e n e e d t o r e f l e c t l i f e . . . t o g i v e b a c k , w h i c h is t h e o n l y
activity that gives m a n dignity . . . I a m especially c o n c e r n e d w i t h physi-
c a l i t y , w h i c h is e v i d e n t . . . o n l y p a i n t i n g a n d s c u l p t u r e h a v e t h e p o w e r t o
give m a n b a c k his physicality ( w h i c h is n o t p r i m i t i v i s m ) when he loses
i t . . . p a i n t i n g a n d s c u l p t u r e h a v e t h e u n i q u e p r i v i l e g e of a f f e c t i n g t h e o t h e r
arts in this r e s p e c t . . .
Second Draft 84

S T O R E D A Y S I
Feb. 23-24 1962

3 periods 3 rooms
2 pauses
no intermission

Cast

ROOM I spirit
man

ROOM II spirit
man
woman

ROOM III spirit


woman 1
woman 2
two men
a man and a woman

OPERATORS Lighting one


Objects one, near station

Total 13
8 5 LIGHTING

F i v e m a i n stations of lights 15 w a t t w h i t e
15 w a t t w h i t e
5 watt blue
15 w a t t w h i t e
2 5 w a t t yellow
T h r e e 5 w a t t color lights on t h r o u g h o u t , o n e in e a c h r o o m .
n e a r floor in first r o o m
Extra 15 w a t t h a m m o c k light a n d in far station ( t o i l e t )
Eccentrics none

Lighting Instructions and other instructions

3 periods of 10 m i n u t e s e a c h 2 pauses.
E a c h 10 min. p e r i o d d i v i d e d into 2/2 m a i n p e r i o d s o n e l e n g t h of 5 stations at
30 s e c o n d s each.
Stations a r e c h a n g e d e v e r y 3 0 s e c o n d s in s e q u e n c e 1 - 2 - 3 - 4 - 5 1 - 2 - 3 - 4 - 5 etc.
P a u s e b e t w e e n 10 m i n . p e r i o d s of 30 seconds.
Lights c u e action ( a t s t a t i o n ) w h i c h freezes w h e n light leaves for adjoining
station
Total time 31 min.
Action t h u s for e a c h station 6 m i n total o u t of 30.
Script ( b y i n d i v i d u a l performers, o p e r a t o r ) identifies piece, room, station
t r e a t e d , activity, p a r t n e r s , on s a m e p a g e .
P e r f o r m e r s action is d e s c r i b e d b y 30 s e c o n d periods, in t h r e e p a r t s :

a opening action
1. b m i d d l e , c o m b i n e d action, or
development
c closing a c t i o n

Closing a c t i o n of o n e 30 sec. p e r i o d is s a m e as o p e n i n g a c t i o n of n e x t

Spirits o p e r a t e freely o u t s i d e m e c h a n i c a l s c h e m e i m p r o v i s i n g w i t h c e r t a i n effects


in d a r k a n d light p e r i o d s
86

A u d i e n c e is limited t o 35. A b e n c h or p l a t f o r m a l o n g w a l l two rows sepa-


r a t e d from t h e a c t i o n b y a clothesline in e a c h r o o m . T h e effect of a sideshow, or
historical rooms. T h e a u d i e n c e stands, b a c k s to t h e wall. C a n m o v e t o t a k e in all
rooms. After p e r f o r m a n c e a r e led o u t b y O p e r a t o r I e i t h e r t h r u side d o o r or w h e r e
t h e y c a m e t h r u store.

D r e s s i n g r o o m o u t s i d e n e a r e n d of rooms.
i -v*- c ^ - c^ 5

y \ y 0 \ S W j <

l/T&^J!^. ^ W ?
8 9 S t a g e : R O O M S IN GENERAL

Action takes p l a c e in 3 r o o m s in a line b e t w e e n w h i c h are large o p e n w i n d o w s ,


so t h a t one c a n see easily from o n e r o o m to t h e other. T h e smallest room, R o o m I,
is d e s i g n a t e d t h e BEDROOM. R o o m II, a bit larger, h a s a sink & is t h e KITCHEN. R o o m
I I I , h a s a fireplace & m a n t e l p i e c e & is called t h e LIVING ROOM. Off from I I I is a small
toilet u s e d for exits & e n t r a n c e s & b y O p e r a t o r II, if n e e d e d . O p e r a t o r I & l i g h t i n g
m a n are s t a t i o n e d o u t s i d e R o o m I. T h r u a slot l i g h t i n g m a n c a n see all 3 rooms.
An ATTIC is b u i l t over half of R o o m I I a b o v e t h e a u d i e n c e a n d e x t e n d i n g t h r u
doors into R o o m I & II. A d o o r leads o u t into a corridor from R o o m II.

ROOM I: DESCRIPTION

T h e smallest r o o m , p a i n t e d all black, t h e floor is c o v e r e d w i t h debris, recollec-


tions, trash of a historical n a t u r e , carefully selected, w o o d pieces, p h o t o s , n e w s p a p e r
clippings, p a p e r , cloth, chairs, rope, c o m i c books, books to i m p r o v e oneself, c a n d y
w r a p p e r s , cans, cartons, bottles, p a c k a g e s , food r e m n a n t s , notes, letters, shoes a n d
o t h e r articles of c l o t h i n g etc. etc.
F u r n i t u r e : a b e n c h w h i c h serves as a b e d o n w h i c h a m a t t r e s s of u n b l e a c h e d
muslin stuffed w i t h n e w s p a p e r s . All soiled a n d t h e b e d also l i t t e r e d w i t h debris.
A chair over w h i c h a m u s l i n cover to w h i c h is s e w n m o r e debris, mostly cloth-
i n g p a n t s , ties, keys, b u t t o n s , flowers, wallets, glasses, h a n d k e r c h i e f s , old tickets,
socks, m o n e y , etc. etc.
I n a c o r n e r a s m a s h e d radio, l a b e l e d " a u t o m a t i c "
P a s t e d on t h e w a l l are c u t o u t r e p r o d u c t i o n s of p i n - u p s , a u t o m o b i l e s

ROOM I: MAN

Station 1
D e s c r i p t i o n , c o s t u m e & g e n e r a l position
A THIN MAN.
C o s t u m e : a d a r k jacket, a y e l l o w e d shirt w i t h a s t a r c h e d c u r l e d u p collar. A
striped clip on b o w tie. U n d e r w e a r , s t r i p e d shorts. N o p a n t s . B a r e feet, p a i n t e d pink.
T h e p o c k e t s of his jacket stuffed w . objects, trivia, debris.

H e sits, kneels, lies o n t h e b e d , crawls u n d e r it, w a l k s a r o u n d t h e r o o m ( w h i c h


h a s t h e a p p e a r a n c e of a c a v e or a jail c e l l ) .
ROOM I SPIRIT 90

D e s c r i p t i o n , c o s t u m e a n d g e n e r a l positions
A YOUNG WOMAN, m e d i u m h e i g h t o r s m a l l .
Costume: O r g a n d y dress w i t h full skirt brilliant yellow color. Silk stockings,
Position: lying in h a m m o c k & rocking. H a m m o c k is filled w . n e w s p a p e r w h i c h
rustles. T h e skirt of dress is also filled w . n e w s p a p e r .
O n a shelf for t h e spirits use, a n u m b e r of effects & objects, as i n d i c a t e d .
A p r i v a t e light. Access to " a t t i c "

ROOM II

A r o o m slightly l a r g e r t h a n R o o m I. Also p a i n t e d b l a c k w i t h t h e relief of a f e w


cut-outs, m o s t l y of r e p r o d u c t i o n s of food from m a g a z i n e s . A p i e c e in t h e form of a
p a i n t i n g like a d r e s s i n g t a b l e w i t h a shelf on w h i c h a c r a c k e d mirror, a w o m a n s h e a d
from a p o s t c a r d , a large s m u d g e d p o s t c a r d of t h e E m p i r e State b u i l d i n g , fragments
of m a k e u p .
At R. a sink a n d a c u t t i n g b o a r d . A h o s e leads from t h e f a u c e t over t h e w i n -
d o w to a p o i n t a t t h e e n d of t h e c u t t i n g b o a r d w h e r e t h e w a t e r s p o u t s o u t into a
p a n . O n t h e c u t t i n g b o a r d a cleaver, s o m e slashed v e g e t a b l e s ( r e d c a b b a g e , yams,
s w e e t p o t a t o e s , f. e x ) . O n t h e l e d g e a b o v e , b e t w e e n R o o m I & 2, s o m e b l u e cloth
flowers in a bottle, s h a v i n g c r e a m , Lavoris, a p r e s c r i p t i o n b o t t l e etc.
A b o v e t h e sink, a n alcove, over w h i c h , a w h i t e s h a d e , half l o w e r e d , t o c a t c h
projections of Spirit I I in attic. F u l l of p a i n t e d p a p e r b a g s of all k i n d s stuffed w i t h
p a p e r a n d various d e b r i s a r r a n g e d to fall d o w n easily.
T o left several b u n d l e s of firewood, a n axe, a saw.
A t r u m p e t h a n g i n g on w a l l a n d a n unfinished ship m o d e l .
F u r n i t u r e : A t a b l e a n d t w o chairs. T h e t a b l e h a s a t o p of stuffed m u s l i n o n
w h i c h plates, cups, silver a n d food d e b r i s is s e w n or o t h e r w i s e a t t a c h e d ( g l u e d , stuck
in, p l a s t i c ) . U n d e r this stuffed t o p a n o t h e r a n d u n d e r t h a t still a n o t h e r , all like pillows
(or pancakes).

ROOM II M A N AND WOMAN

Station 2
D e s c r i p t i o n , c o s t u m e & g e n e r a l position
W o m a n : Blond, " p l u m p " .
M a n : "stocky".
Costumes: w o m a n w e a r s T - s h i r t o n w h i c h s o m e t h i n g is p r i n t e d in several colors
a n d a n o r d i n a r y w h i t e skirt w i t h p i n k h e a r t s p r i n t e d o n it. S h o r t socks.
91 M a n : long-underwear top & pants.
G e n e r a l l y at ease in k i t c h e n .
W o m a n at sink, c u t t i n g b o a r d a n d t a b l e to Right.
M a n s e a t e d & m o v i n g a r o u n d to left.

ROOM II SPIRIT II

D e s c r i p t i o n , c o s t u m e a n d g e n e r a l position
S H O R T , L O N G - H A I R GIRL
Costume:
G e n e r a l position: in " a t t i c " over r o o m

ROOM III

A longer r o o m t h a n t h e o t h e r t w o a n d p a i n t e d t a n g e r i n e color. T h e w i n d o w
b e t w e e n R o o m I I & I I I is taller a n d t h e sill of it forms a seat on w h i c h is a c u s h i o n
of muslin, p a i n t e d & stuffed & lined w i t h d a n g l i n g m a n y - c o l o r e d strips of cloth.
Next to t h e seat a closet w . t w o doors, full of w o m e n s clothes stuffed w . n e w s -
p a p e r . I n s i d e of closet p a i n t e d yellow & b l u e like a l a n d s c a p e . O n t h e floor of t h e
closet a collection of cans & o t h e r m e t a l & glass & p a p e r objects (bottles, caps, lids
etc. e t c . ) s p r a y e d a l u m i n u m color to a d e p t h of a b o u t 2 feet. T h e doors to t h e closet
are s h u t w h e n p i e c e begins.
A b o v e closet, a n alcove, lined w . puffed-up stuffed p a i n t e d muslin, d e c o r a t i v e ,
position of Spirit I I I .
B e l o w & in c e n t e r is a r a i s e d small stage a b o u t 2 feet b y 4 feet b u i l t over t h e
m a n t e l p i e c e of a fireplace a n d a w o o d e n "horse".
B e l o w this s t a g e is a n a r e a e n c l o s e d b y p a i n t e d m u s l i n w i t h a slit in front. Be-
h i n d t h e raised s t a g e t h e w a l l is d e c o r a t e d w i t h c u t - o u t s from m a g a z i n e s , p h o t o s t a t s
a n d c e r t a i n objects h u n g on t h e wall.
T o t h e left, a tall s q u a r e area, b e y o n d t h e r a i s e d s t a g e ( t h e ceilings are h i g h ) ,
a tall paneless w i n d o w in w h i c h a p u l l e y a n d r o p e a t t a c h e d to a belt. A b e n c h p e r -
p e n d i c u l a r to w i n d o w , a g a i n s t wall.
(develop more)

ROOM III SPIRIT III

D e s c r i p t i o n , c o s t u m e , g e n e r a l position
BLACKHAIRED W O M A N .
C o s t u m e : All w h i t e , layers of a b u n d a n t w h i t e m a t e r i a l , like a b r i d e , l o n g skirt,
half-circle h e a d d r e s s of w h i t e . 92
Mirrors or s p a n g l e s in hair. Small flashlights in c o s t u m e . F e a t u r e s intensified b y
makeup.
G e n e r a l position: s e a t e d facing R. face t u r n e d t o w a r d a u d i e n c e .

ROOM III WOMAN 2

Station 4
D e s c r i p t i o n , c o s t u m e , g e n e r a l position
T A L L , SLENDER, LONG LEGS, GOOD FIGURE, DARK.
C o s t u m e : A d h e s i v e t a p e on face. T h e t y p e of a 3 r d Ave. w a n d e r e r , p e r h a p s a
gypsy. Dress, silk stockings, h i g h heels, ankle jewelry. A d d e d l o n g b l a c k hair. Bi-
z a r r e m a k e u p . P u r s e w . objects as d e s c r i b e d : knife, coins, flowers etc.
G e n e r a l position: w a l k i n g sitting k n e e l i n g on r a i s e d stage, ( s h o w i n g ) or in o t h e r
w a y s u s i n g wall.

ROOM III Two MEN

Station 4
D e s c r i p t i o n , C o s t u m e & gen'l position
1. Short, "stocky". B e g g a r . I n b i z a r r e b u r l a p c o s t u m e , c a r r y i n g b u n d l e s of n e w s -
p a p e r s a n d a t r a v e l i n g b a g full of objects, a n d a s a n d w i c h in a w r a p p e r .
2. L o n g , "stocky" w r a p p e d in p a p e r a n d tied w i t h t w i n e .

1. Sitting in front of, b e l o w raised s t a g e t h e lower "street".


2. P r o t r u d i n g slightly from t h e m u s l i n w h i c h h a n g s from raised stage.
T o b e p u l l e d out.
I n s i d e & u n d e r raised stage a bass d r u m , p l a y e d b y t h e p a c k a g e m a n .

ROOM III MAN & WOMAN

Station 5
D e s c r i p t i o n , C o s t u m e , g e n e r a l position
Man slender, tall.
C o s t u m e : b a g g y o r d i n a r y coat & h a t . P o c k e t s stuffed w i t h objects. J o c k s t r a p
under.
Woman s l e n d e r tall, p o l k a d o t dress silk stockings. Heels. E v e r y d a y
costume.
G.P. Man in & o u t of r o o m ( i n t o toilet) u p on b e n c h . W o m a n around
a r e a of station.
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i
ROOM I
(MAN, SPIRIT, OPERATOR OF OBJECT EFFECTS)

Man Spirit Objects


12 e v e n t s 1 cue 3 cues

W i t h socks Free:
1 D r o p s socks Rocks, 1 Bell Rings
Gets package Rustles Hands package
Dangles head,
Gets Package Limbs
2 Opens Package Milk o n L e g
Drops Package On Head, Arm
Drops Coins Free:
Drops Package (spread Projects
3 Lies D o w n thruout) Megaphones
Tosses Gravity Band
Floor Moves
Tosses Pipe Enters (2)
4 T a k e s off C o a t Radio
Roll D r o p s D r o p Roll (spread
thruout)

Roll D r o p s
5 E a t s Roll
L e a v e s Roll
(lies w . roll)

Lies w i t h Roll
6 T a k e s off Shirt
Kneels on B e d

Kneels on B e d 7 Sticks in G l o v e
7 Kisses G l o v e
Shakes Glove

Shakes G l o v e
8 Looks for S h o e
L o o k s for Shoe

Looks for Shoe


9 F i n d s Shoe
P u t s on Shoe
P u t s o n Shoe
10 Into a Rage 100
Runs around
Swears, T e a r s

R u n s a r o u n d , etc.
11 Lies D o w n
Ties Himself t o B e d

Ties Himself t o B e d
12 Ties Himself to B e d
Ties Himself to B e d
(coughs)

Slides D o w n
ROOM II, STATION 2

(MAN, WOMAN)

Period I.: D i s h e s

Woman Man
1. D r y i n g dishes 1. C a r v i n g ship m o d e l
Stacks t h e m a b o v e drinks w a t e r E x a m i n e s it carves
smiles mascara runs Sands it
Same

2. T a k e s p i e o u t of plastic c o n t a i n e r 2. S a n d i n g
Picks at it sobs Sudden Anger, grabs u p table
P u s h e s it into m a n ' s face a n d c r u m p l e s it
impulsively t h r o w s it d o w n
laughs Sits d o w n gets p i e in face

3. L a u g h s 3. W i p e s p i e off face
U n w r a p s ice c r e a m b a r with second table top
E a t s it Picks u p first
sets e v e r y t h i n g r i g h t
Takes up magazine

4. E a t s bar, leaves it half e a t e n 4. W i t h shears cuts p i n u p


it falls o n floor from m a g a z i n e
Pulls at t o o t h m o u t h fills w . same
blood, w i p e s it Pastes it u p on w a l l w i t h t a p e
L a u g h s , looks for ice c r e a m b a r b u t
its fallen d o w n

Period II. Soup

1. W i p e s m o u t h 1. Sits d o w n a n d lites cigar


Turns on water (before) Takes up trumpet
Washes hair Smokes n o w p l a y s n o w

Goes to alcove hair wet Smokes & p l a y s


w r i n g i n g it gets s o u p p l a t e Gets soup
P o u r s s o u p (from u n d e r t a b l e ) Smokes p l a y s sucks s o u p
Sets before h i m
Goes b a c k to h a i r
3. D r i e s h a i r 3. Knocks s o u p off it tastes 102
Talks to self, ignores h i m terrible
G e t s c u p of ice c r e a m sits d o w n T a k e s u p ship m o d e l carves
at t a b l e on it a little spite
Throws model at her

4. D r o p s ice c r e a m on t h i g h s tries 4. B u n d l e s u p t a b l e a g a i n
to get it b a c k in b u t c a n t in r a g e
Slams glass on table, c o u g h s T h r o w s d o w n first, s e c o n d
L i g h t s c i g a r e t t e a n d talks to self third piece
Looks for ship m o d e l

Period I I I: Vegetables

1. T a k e s d o w n v e g e t a b l e s from a b o v e 1. Picks u p the three table tops


sink and lays t h e m on a g a i n
C h o p s wildly p l a n t a i n s , c a b b a g e s , Picks u p pieces of s o u p p l a t e
roots etc. Touches pinup
Chops chops Sets o u t s h a v i n g stuff

2. C h o p s 2. L a t h e r s his face a n d starts to


L o o k i n g for s o m e t h i n g causes all t h e shave
b a g s a n d stuff a b o v e sink a n d Curses w o m a n and throws shaving
dishes to fall d o w n c r e a m at h e r
Indifferent, c h o p s a w a y P u s h e s t a b l e aside a n d still
w e a r i n g c r e a m picks u p w o o d

3. T h r o w s c h o p p e d stuff in w a t e r 3. U n t i e s w o o d a n d starts to c h o p it
stirs sits d o w n at t a b l e Saws it
( a s if w a i t i n g for it to c o o k ) L o o k s for ship m o d e l
P o u r s d r i n k from b o t t l e whistles
Peels p o t a t o e s scratches h a i r
cries a little

4. Falls asleep, d r o p s p o t a t o 4. Looks for s h i p m o d e l


Snores sags off c h a i r F i n d s it
W a k e s u p sort of b u t n o t m u c h T h r o w s it d o w n angrily
Chops
Saws
ROOM III, STATION 3
Woman 1

Period I: T o e N a i l s

1. Sits o n c o u c h
Gets u p w a l k s
W a l k s in a circle fast o n
h a r d floor clicking

2. Still w a l k i n g
Sits d o w n curls u p slowly
Looks a t b o d y , t u r n s legs
looks at legs d r o p s off shoes

3. Still looking
A b r u p t l y rolls d o w n stockings &
off d r o p s
Begins c u t t i n g toenails w i t h
great care and pleasure

4. Still c u t t i n g
G e t s u p walks a r o u n d a b r u p t l y
o n e stocking off o n e o n
Sits d o w n a g a i n

Period II: Letters

1. T a k e s h a n d m i r r o r off w a l l
Practises smiling
Sets m i r r o r back, curls a r o u n d

2. L o o s e n s h a i r
T a k e s m i r r o r again, p r a c t i s e s f u n n y
faces a n d t e r r i b l e o n e s
Curls, h a n g s m i r r o r b a c k

3. Stretches
T a k e s off eyelashes takes envelope
o u t of p o c k e t p u t s t h e m in, p u t s
under couch
Curls, takes letters o u t from u n d e r 104
couch
R e a d s t h e m all v e r y fast white,
pink, b l u e b l a c k g r e e n
Cries l a u g h s tears t h e m all u p a n d
falls asleep

Period III: T h e Closet

1. Spits off c o u c h
P u t s legs u p h i g h falls off
S t a n d s u p starts u n d r e s s i n g

2. T a k e s off clothes
Walks around
A b r u p t l y , o p e n s closet doors

3. Pulls o u t all clothes a n g r i l y


Kicks t h e m a r o u n d
Kicks t h e m a r o u n d

4. S q u a t s pulls o u t all stuff at b o t t o m


shoes a n d silvered cans etc.
m u c h clatter
J u s t walks a r o u n d

ROOM III, STATION 4

Woman 2
( o n raised stage in walking position)

Period I: T h e Banana

1. Just strolls, b a c k a n d forth


s w i n g i n g b a g , taps, smiles, smokes
Just strolls b a c k a n d forth
swinging b a g taps smiles
Stops, looks in p u r s e
2. Looks in p u r s e
T a k e s o u t b a n a n a , peels eats, w h i l e
smoking

3. Takes n e w s p a p e r o u t from u n d e r a r m
R e a d s p a p e r , swears, looks at w a t c h
t h r o w s hair b a c k
D a n c e s w i t h p a p e r in front of face,
slaps it, a r g u e s w i t h it

4. D a n c e s , folds p a p e r messily throws


d o w n . W a l k s fast, w o r r i e d
Hesitation, d r a w s on gloves
D r a w s on gloves looks a r o u n d n e r v o u s l y

Period II: T h e Knife

1. T a k e s off gloves glances a r o u n d w a l k s


P u t s gloves in p o c k e t kicks p a p e r
O p e n s p u r s e , spills coins d o w n o n M i l e t

2. Kneels to get coins, forgets t h e m


E x a m i n e s pieces of p a p e r
Stands u p s t a m p s o u t cigarettes

3. Takes knife o u t of p u r s e flips it


Stabs w a l l several times
O u c h , cuts herself

4. Sucks w o u n d
P a r e s nails w i t h knife, cries
D r i e s tears w i t h b a c k of h a n d
bites lips
Walks

Period III: T h e U m b r e l l a

1. W a l k s g r a b s c a m e r a
T a k e s p i c t u r e s this w a y a n d t h a t
S y m m e t r i z e s skirt, d r o p s c a m e r a
T a k e s o u t m a k e u p a n d mirror, fixes face
2. W a l k s , picks flowers o u t of b a g 106
a n d sticks t h e m r o u g h l y in h a i r
W a l k s on, s c r a t c h i n g

3. S t a m p s a r o u n d , swears
Hums, taps
Looks b e h i n d her h u m s taps

4. G r a b s u m b r e l l a p u t s u p s u d d e n l y , smiles
Flirts from u n d e r u m b r e l l a
B e c o m e s serious
R e d p a i n t r u n s d o w n walls

R O O M I I I , STATION 4

Two Men

Period I: T h e Sandwich

One Two
1. I n p a c k a g e E m e r g e s from u n d e r s t a g e
In package (plays d r u m ) with newspaper bundles
In package and bag and sandwich
Same
Same

2. In package C o m e s r o u n d front, sets


In package (plays d r u m ) stuff d o w n
In package Sits
E a t s s a n d w i c h , w r a p p e d in m a p
( b a n a n a p e e l comes d o w n )

3. As a b o v e 3. Swears to w o m a n
Eats sandwich
Blows nose swears eats
sandwich plans trip on m a p

4. As a b o v e 4. Sees p a c k a g e
F e e l s it pulls it o u t
Begins t o u n w r a p it
Period II: T h e P a c k a g e

1. As a b o v e b u t is u n w r a p p e d 1. U n w r a p s p a c k a g e
Is p u l l e d o u t U n w r a p s p a c k a g e to shoes
T o legs

2. As a b o v e 2. U p legs
U p legs
Middle

3. As a b o v e 3. E a t s s a n d w i c h
S t o m a c h u n w r a p p e d , tie
Goes t h r u p o c k e t s

4. As a b o v e 4. C h e s t u n w r a p p e d
Goes t h r u chest p o c k e t s
N o t h i n g , loses interest
Eats sandwich

Period III: T h e H a n d b a g

1. W r a p p e d a g a i n 1. W r a p s carelessly u p
carelessly stuffed b a c k Stuffs p a c k a g e b a c k
Stuffs b a c k a n d w r a p s

2. S a m e o n c e b a c k in r e s u m e s 2. F i n i s h e s s a n d w i c h goes b a c k
drum to m a p
T a k e s o u t b a g a n d o p e n s it
Spreads b a g

3. S a m e 3. T a k e s objects o u t of b a g
T a k e s objects o u t of b a g
T a k e s objects o u t of b a g

4. S a m e 4. L o o k i n g for s o m e t h i n g
T a k e s objects o u t of b a g
F i n d s knife, kisses runs
along cheek
ROOM I I I , SPIRIT III 1] 0 8

Coordinated: none Improvised:


I. shows b l a c k shiny pistol
raises leg lowers other
wiggles toes
u s e all t h r u o u t h a n d g h o s t ( r u n s cloth t h r u
more coming fingers)

I I . shoots caps
fans self

I I I . bells
handcymbals

ROOM III, STATION 5

Man and Woman

Period ] : Pockets

Man Woman
1. M a n e n t e r s 1. S e a t e d on b e n c h w i t h
Goes t h r u p o c k e t s frantically ceramic pig
Goes t h r u p o c k e t s frantically Stands u p
H e l p s h i m look

2. Goes t h r u p o c k e t s frantically 2. H i t s h i m
Kisses h e r Hits him
Hits her P h o n e rings, s h e a n s w e r s it

3. L i g h t s cigarettes 3. Talks on p h o n e
D r o p s objects o u t of p o c k e t s Gives h i m p i g to h o l d
s o m e on floor, o n b e n c h , t o h e r Insists h e h o l d p i g

4. Refuses p i g 4. Insists h e h o l d p i g
Smashes the pig Indifferent. Talks o n p h o n e
G o e s b a c k t o looking t h r u p o c k e t s Puts phone down
109 Period I I Clay

1. T a k e s off c o a t 1. T a k e s o u t clay
G e t s u p on b e n c h D r o p s clay
Strikes pose D r o p s clay leaves it

2. Poses 2. T a k e s u p p e n c i l & p i p e
P u t s b a g over face Draws
Poses Draws

3. Poses w i t h b a g o n h e a d 3. T u r n s b a g
Poses w i t h b a g on h e a d T u r n s it a g a i n
Poses w i t h b a g o n h e a d I g n o r e s subject d r o p s p a p e r

4. P u t s on coat takes off b a g 4. Pick u p greasy m a c h i n e p a r t s


Leaves Examines them
Off E x a m i n e s , takes out.

Period III: Haircut

1. Off 1. Sits d o w n w i t h g r e a s y fingers


Returns D r a w s , erases
Sits on b e n c h lites c i g a r e t t e D r o p s p a p e r , talks fast
talks fast

2. Sits on b e n c h lites c i g a r e t t e 2. Talks fast


talks fast Crosses legs b a c k a n d forth
T u r n s a r o u n d sits facing w a l l M a k e s little notes o n stocking
Brings o u t m o r e objects

3. L o o k i n g in p o c k e t s 3. S t a n d s u p b r u s h e s skirt
L o o k i n g in p o c k e t s vigorously
G e t s w i g a n d cuts G r a b s scissors, snips in air
T h r o w s w i g o n h i m & c u t s it
t h r o w s w i g o n self & cuts it

4. G e t s u p g r a b s h e r violently 4. Lies d o w n t a l k i n g fast


forces h e r to floor n o resistance
P u t s legs in sling Is p u l l e d u p
Pulls h e r u p Is p u l l e d u p

end
Residual Objaots

Love objaots. raapaot objaots.

Objactivity h i g h s t a t e of faaling.

Rawidual objects are created in t h e course o f m a k i n g the per-

formance and during the repeated performances. The performance

is the m a i n thing hut w h e n it is o v e r there are a number o f sub-

oriinate pieces whioh may be isolated, ouvanirs, r a a i d u a l ob-

jects.

To pick up after a performance to b e v a r y careful about what is

to ba discarded a n d what still survives by itself. Slow study

& respect for small things. Ones own created "found objects"

T h e f 1 o o r o f t h e s t a g s l i k e th* straet. Picking up after is

oreativs. Also t h e i r p a r t i f u l a r l i f e must b e respected, where

they had their plaoe, each a r e a of activity oombsd separately

and w i t h respect for w h a r a it b e g i n s & anda.

Residual Objects, S t o r a Days 1.

Room 1 Z <-&*^ ^> f-**<-


y ^ p r ^ v T s u - - ^ _ J (y-^jfcrJZ. A-er^'
The Chaii

The Bad (incomplat^) . ^ ^ ~ - T - i 2 J ^ = V ^ ^

A fragmant of the floo dus small objects-^&C\ &


popular graphics ^Wfib^wood \ >- =^s
~ f e g < 0"\JU-3

-j$^^^y^ft^t^'j>
J
/The table, in threa p a r t s * - S A ~ - > ^ ~ I f-*^^y~* , s t ^ V ^ . \^^K-

The wall-piece various small objects ^K-=v - - ^ -

v*- W-.
^ ^ ^ [ j a g a ^ l n e 8 _ : : J g M ^ c A ^ f ) / ^ l g l^**7 > ^ - ~

V^^^Container of -sliced vegatables-/


Room III

a.

A closet-full o r t a b l e f u l l o f s4mf&t d r e s a a s & other a^>-J>-^^


olothing **^-v*^V*H' L - > /'^\2zz^^(^^ir^^ \

Packet of pink letters on a settes-^^^^^c^ , ^e^^r~*y^~* *~

Two o a s e a of s i l v e r e d f c a n s -aa*" b o t t l e s A CX/-<A. t^_

WalVand s t r e a t - p l a i n (on whioh a black u b r e l l a


spattered with white paifo flowers, coins, other ,.
street debris. _ , . , t&r^&Li

A l t a r of c o n s t r u c t i o n horseywM^s-^ardboard boaxs full of


n a i l s a n d p a i n t e d b l a c k t-lackHtuiiAui' l t t
-tL>^
H a l f a man i n b l u e s o c k s a n d p l a s t e r s p a t t e r e d s h o e s t i e d i n
f u r n i t u r e - w r a p p i n g p a p e r , r i p p a d and l e a k i n g gray m a t t e r ,
'JJL n a i l a J w o o d a n d o t h e r d e b r i s ^ * ,
^~a~J \>J < 4UJ\^<_ ^ T i e c L **-, >-w.-^*-
3 5 - f u l l o f d a b r i s a n d \a ^ i o u a o b j e c t s **fl"newspaper b u n d l e s

.^|C^^ (iiihiir

A box o^ro" actas-

M%28."o&&r F?
.J~J-<m-
A box of m a c h i n e r y

A^Dag o f newspaper^strips ^

A pad a o rf yyeal ll io w paper with marks m i d u , i a a m j , uii 11'


<Ht d r a w i n g s ^

A telephone ,

^ rjS-i^nL lr~ c -^ >-*.-*-<-_

Costumes

Certain p rticular costumes, to be photograohed as objects f^.-^x

Shirt and snorts and clip on bow tieal

T e r r y s ^ V~*-^"TC_-^ \

Car61eea / Milets Billys coat and hat L a t t y s *<-4|fickeys ( *"***$

_ _ _ S J L * V " > ^ .
t^P* **' <i_v*-s"?'"t54- lr^'-^^i<? V w*.
m

. i

i !

mm
's:"*7.,**k!
i

' *^m0^
^ ..ig

f: *^SmmSir^
U* Si. .. .3

a-z..... AAAAAi

** imr 9 I

, ' 1

,a
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i H
kr__2
119

First Draft

S T O R E D A Y S II

P e r i o d 1: S o m e t h i n g P u r c h a s e d
Period 2: A Lecture to the Salesmen
Period 3: T h e Night Before Christmas
R o o m 1: BedRoom-Jail
Room 2: Kitchen-Butcher Shop
R o o m 3: L i v i n g R o o m - T u r k i s h B a t h - W h o r e H o u s e -Funeral Parlor
ROOM ONE 120

Position 1
I n a r o o m w i t h d a r k walls, a g r e a t i l l u m i n a t e d silver d r e s s i n g t a b l e w i t h mirrors
o n all t h e walls a r o u n d . A b o v e in h a m m o c k a m a n , slight a n d h a n d s o m e , w i t h a trum-
pet. T o side, a seat or sofa. T h r o u g h o u t , soft b l i n k i n g lights.
A w o m a n is s e a t e d a t t h e m i r r o r c o m b i n g h e r hair, w h i c h is v e r y long. O n t h e
dresser, all m a n n e r of p e c u l i a r c r e a t e d objects.

Period 1: Glass

T h e w o m a n t u r n s on a fan s t a n d i n g on t h e table, w h i c h b l o w s h e r hair.


" W h o o o o e y ! " she says, t u r n i n g h e r h e a d b a c k a n d forth. I t causes t h e w a l l opposite,
w h i c h is h u n g w i t h plastic, to r i p p l e a n d sway. T h e m a n a b o v e ( t h e spirit) sticks his
h e a d o u t of t h e h a m m o c k a n d blows his t r u m p e t softly.
A m a n w i t h his h a i r slicked d o w n e n t e r s t h e r o o m from left w i t h a snare d r u m
in his h a n d w h i c h h e sets d o w n a n d a stool w h i c h h e sets d o w n a n d sits on. H e takes
o u t sticks ( o r b r u s h e s ) . H e b e g i n s to p l a y politely a n d quietly, smiling at t h e audi-
e n c e . His hair is slicked d o w n a n d h e is all a r o u n d a slick fellow.
T h e w o m a n at t h e m i r r o r looks at herself a n d m a k e s u p .
A n o t h e r w o m a n all in b l a c k a n d s h r o u d e d w i t h a b u l k y black s h r o u d enters a n d
w a l k s b a c k a n d forth b e t w e e n t h e a u d i e n c e a n d t h e others. She kneels d o w n at r i g h t
a n d from a d r a w e r takes o u t a pile of jewelry some of w h i c h she drops, some p u t s
o n her.
T h e w o m a n at t h e t a b l e t u r n s on t h e fan again a n d goes " w h o o o o e y ! " She s t a n d s
u p a b r u p t l y a n d joins t h e o t h e r w o m a n in front of t h e w i n d o w b e t w e e n rooms o n e
a n d two. She d r a w s d o w n t h e s h a d e ( o r b u t c h e r d o e s ) . P h o t o s of h i g h m o u n t a i n s
are flashed on t h e s h a d e a n d over t h e m , o n e after a n o t h e r w h i l e t h e y giggle a n d talk
r a p i d l y a n i m a t e d l y intimately. T h e s h r o u d e d w o m a n ' s face can b a r e l y b e seen.

end of period one

Position 2
T h e s h r o u d e d w o m a n r e m o v e s h e r s h r o u d a n d sits facing t h e a u d i e n c e on t h e
d r e s s i n g table. T h e o t h e r w o m a n r e s u m e s h e r seat facing t h e mirror. T h e w o m a n in
b l a c k is m a d e u p g r o t e s q u e l y w e n o w see. H e r front t e e t h are gold. T h e y flash w h e n
she speaks.

Period 2: Dreams

T h e w o m a n in b l a c k talks sidelong, c h a r m i n g l y , to t h e o t h e r w o m a n w h o r a t h e r
121 ignores her, c o m b i n g h e r hair. T h e w o m a n in b l a c k slaps t h e o t h e r in t h e h e a d . T h e
other pays no attention.
T h e w o m a n in b l a c k fans herself w i t h a h a n d fan or a n e w s p a p e r , crosses h e r
legs, looks a w a y .
T h e m a n s leg e m e r g e s w i t h a h a n d s o m e b r o w n a n d w h i t e shoe, swaying. I t
goes b a c k u p comes d o w n w i t h a fine p a t e n t l e a t h e r shoe.
T h e w o m a n in black takes off h e r jewelry a n d t h r o w s it d o w n , shakes h e r hair.
She leans b a c k a n d falls asleep instantly. She rolls gently off t h e t a b l e on t h e floor
in t h e corner, w h e r e she stays until e n d .
Several letters are h a n d e d d o w n to t h e w o m a n c o m b i n g h e r hair, s o m e d r o p p e d
aimlessly. She t u r n s on t h e fan again a n d says " W h o o o o o e y ! " T h e d r u m m e r p l a y s
on, ingratiatingly.

end of period two

Position 3
Same, b u t d r u m m e r plays v e r y slowly, n o t a u d i b l y a n d bass d r u m off stage
m a k e s t h e sound. H i s eyes a r e closed.

Period 3: The Violin

T h e first w o m a n tucks h e r skirts u p a n d ties flashlights o n h e r legs a b o v e t h e


knees, w h i c h d a n g l e as she w a l k s b a c k a n d forth.
A r e d d i s h p o w d e r falls a r o u n d t h e room.
A h u g e form b e g i n s to force its w a y into t h e r o o m t h r o u g h t h e n a r r o w door o n
t h e left, a sort of smiling face w h i c h e x p a n d s , d e v e l o p s d i m e n s i o n inside t h e room.
T h e w o m a n does n o t care. I t e x p a n d s u n t i l it literally fills t h e r o o m , p u s h i n g t h e
d r u m m e r a n d his d r u m aside. H e falls over in fact.
T h e girl lies d o w n on t h e seat at r i g h t w i t h h e r b o o k t o t h e a p p a r i t i o n .
She t u r n s off t h e flashlights f a s t e n e d to h e r legs a n d a p p e a r s t o go t o sleep.
T h e a p p a r i t i o n fills the w h o l e room, a n d m a y b y a h a n d p i n c h a n d w r i t e o n h e r
exposed legs.

end of period three


and end of
STORE D A Y S I I , R O O M 1

L
ROOM TWO 122

Position O n e
A l o n g t a b l e in t h e r o o m a n d t h a t is all. A sink. F r o m walls a n d from ceiling,
m e a t s of all kinds, s i m u l a t e d , s u b s t i t u t e d , f.ex. p a p e r forms, m e t a l forms, deflated
balls, w h i t e fuzzy muffs, n u t s , bolts. Plastic b a g s of colored liquids, w h i c h m a y b e
cut. F r o m above, also a string of m e a t s h u n g before t h e eyes of t h e a u d i e n c e . N o o n e
is in t h e r o o m b u t t h e objects.
Upstairs, a spirit, male, w i t h a striped shirt.

Period 1: Rabbits

D e s c e n d i n g slowly from t h e attic, a w i n g e d b u t c h e r , w i t h rimless glasses a n d


in his h a n d a large cleaver w h i c h shines in t h e light. H e slowly d e s c e n d s a m i d t h e
u n d u l a t i n g m e a t s etc. in t h e r o o m .
P u t s d o w n cleaver. W a s h e s his h a n d s a n d c o m b s his h a i r in a mirror.
H e lathers his face a n d b e g i n s to shave. F l a s h b u l b s go off, b l i n d i n g t h e a u d i -
e n c e ( t h e spirit h o l d s t h e m d o w n ) .
T h e b u t c h e r sings. A h a n d or a leg h a n g s d o w n from t i m e to t i m e w h i l e t h e
b u t c h e r shaves.

end of period one

Position T w o
Same. B u t c h e r goes on shaving. Finishes in t h e darkness. A film goes on of swim-
m e r s c o m p e t i n g furiously a n d r u n at fast s p e e d on t h e s h a d e a b o v e t h e sink.

Period 2: Wristwatches

W h e n light is on, h e leaves off s h a v i n g a b r u p t l y , w i t h c r e a m still on his face. H e


b e g i n s t a k i n g objects d o w n from t h e w a l l a n d s m a s h i n g & vigorously b e a t i n g t h e m
a n d c h o p p i n g t h e m , all sorts of objects. T h e spirit c o n t i n u e s to d a n g l e p a r t s of a n a t -
o m y from b a l c o n y . H e t h r o w s a fine s n o w from t i m e to time, t h r o u g h t h e cracks over
t h e a u d i e n c e a n d into t h e room. H e p e e r s u p s i d e d o w n at t h e a u d i e n c e i n a n e l y a n d
tries to d i s t r a c t t h e m .
T h e p h o n e rings. T h e b u t c h e r answers, t h e p h o n e d r i p s blood. T h e m o u t h p i e c e
is b l o o d y . H e is b o t h e r e d b y t h e call. After all h e is b u s y . T h e b l o o d smears o n his
lips.

end of period two


123 Position 3
T h e film of s w i m m e r s in darkness, at slow s p e e d . T h e b u t c h e r r e m a i n s s t a n d i n g
at t h e p h o n e . S o u n d of t u r n i n g n e w s p a p e r s from a b o v e . C o u g h i n g a n d sneezing.

P e r i o d 3: 'Virtuosity

A p a c k a g e l a n d s on t h e sitting r o o m t a b l e t h r o w n from above. T h e p h o n e rings.


A n o t h e r p a c k a g e falls, lands. Some sausages. A r a b b i t . T h e b u t c h e r p u t s d o w n t h e
p h o n e a n d w i p e s his m o u t h . H e p a c e s b a c k & forth h u m m i n g .
More packages are thrown down.
T h e b u t c h e r goes b a c k to shaving. T h e m i r r o r reflects t h e spirit.
D a r k n e s s . T h e film of s w i m m e r s .
T h e b u t c h e r shaves.
S o u n d of a violin a n d cashregisters.
T h e b u t c h e r d r o o p s his w i n g s ( t h e y a r e o n s u s p e n d e r s ) . H e sits d o w n at t h e
t a b l e crying.
All t h e s u s p e n d e d objects d r o p o n h i m a n d a r o u n d h i m .

end of period three


and of STORE D A Y S I I , ROOM 2

0 ^ J ^ u ^ <*- k * M ~ <
ROOM THREE 124

Position 1
O r g a n music. I n t h e closet, dark. L i g h t goes on. I n far corner, a tall S t a t u e of
L i b e r t y o n rollersa real p e r s o n in c o m b i n e . I n h i d d e n r o o m ( t o i l e t ) a n e l e p h a n t .
T h r e e w o m e n s e a t e d on shelf over closet, legs d a n g l i n g over side ( t h e M c G u i r e
Sisters).
O n m a n t e l p i e c e a ship m o d e l w h i c h c a n b e c r a n k e d u p . I n t h e sky: " c l o u d s "
cloth b a g s a r o u n d w e a k light b u l b s w h i c h c a n b e m o v e d . O n shelf a b o v e a u d i e n c e
a n o p e r a t o r w i t h s q u i r t guns of colored liquid. I n far corner, a sort of b a n d : a saxo-
p h o n i s t a n d a singer in e v e n i n g dress ( o r a P u e r t o R i c a n Bible b a n d ) , smiling, next
to statue.
T h e w o m e n s e a t e d on t h e shelf a b o v e t h e closet are d r e s s e d very lushly in
bouffant skirts a n d m a d e u p w i t h d a r k m a k e u p w h i c h m a k e s t h e m look t a n n e d . T h e i r
shoes glisten. U n d e r t h e i r skirts h a n g p o c k e t flashlites w h i c h i l l u m i n a t e their legs.
T h e l e n g t h of t h e r o o m is a shallow t r o u g h a b o u t 3 ft. b y 9 ft. w i t h a b o u t t w o
inches of w a t e r in it, a sort of l i q u i d d a n c e floor or a p l a n e r u n w a y after rainstorm.
A hose at t h e left e n d w h i c h slowly p o u r s w a t e r into t h e t r o u g h .

O n t h e m a n t e l p i e c e is a sign also, a box w i t h s i m u l a t e d n e o n letters w h i c h r e a d s


"Hot Dogs."

Period 1: Baldness

A m a n in e v e n i n g suit a n d a d e r b y enters. T h e P r e s i d e n t of t h e U.S. h a n d s o m e


slick. H e goes to m a n t l e , h a n g s u p his hat, t u r n s on H o t D o g sign. T h e clouds m o v e
b a c k a n d forth. ( A m o o n h a n g s d o w n )
S o u n d of cashregisters. T h e girls sitting on t h e shelf h u m a n d m o v e their legs
in t i m e to t h e r h y t h m . T h e saxophonist plays.
T h e S t a t u e of L i b e r t y m o v e s a little.
T h e g e n t l e m a n takes o u t a m i r r o r a n d b r e a k s it w i t h his h a n d s . T h e n a n o t h e r
from all his pockets. H e coughs, smiles.
H e looks at a p o r t r a i t over t h e m a n t e l p i e c e as if into a m i r r o r a n d s t r a i g h t e n s
his tie.
A n old b e g g a r falls slowly o u t of t h e closet. T h e girls kick their legs a n d t h e
clouds m o v e . S t a t u e of L i b e r t y m o v e s slightly.

end of period one

Position 2
T h e s a m e b u t t h e g e n t l e m a n takes a position on t h e w e t d a n c e floor.
few

125 P e r i o d 2: Sunsets

T h e t h r e e girls o n t h e shelf slide d o w n t h e slide. T h e y kick t h e b e g g a r .


T w o s t a n d at t h e m a n t e l w h i l e a t h i r d starts to d a n c e w i t h t h e g e n t l e m a n .
T h e saxophonist plays.
T h e e l e p h a n t enters, clumsily asks t h e girls for a d a n c e , w h i c h t h e y d o n o t
u n d e r s t a n d . T h e e l e p h a n t passes t h e m to c o n t e m p l a t e t h e fallen b e g g a r .
T h e clouds m o v e . T h e S t a t u e of L i b e r t y m o v e s across t h e floor on its rollers to
s t a n d of t h e e l e p h a n t a n d b e g g a r .
T h e e l e p h a n t h a s t a k e n t h e b e g g a r u p b e s i d e h i m o n t h e sofa. T h e y a r e c o m -
forting e a c h o t h e r a n d e x c h a n g i n g confidences.
T h e t w o girls w h o are n o t d a n c i n g get into a n a r g u m e n t . T h e y d r a w knives a n d
s t a b e a c h o t h e r to d e a t h , fall d e a d a n d r e m a i n so.
D i m lights a n d a t h o u s a n d mirrors like at t h e H o l l y w o o d D a n c e Palace.
T h e c o u p l e d a n c e in t h e w a t e r , m a k i n g r i p p l e s a n d reflections.

end of period two

Position 3
D a n c e r s freeze at far e n d . E l e p h a n t a n d b e g g a r fall over on floor. L i b e r t y
droops. T h e t w o w o m e n c o n t i n u e lying still.

P e r i o d 3: Atlantis

T h e O c e a n L i n e r b e g i n s to rise, first from t h e b o w a n d t h e n evenly u p .


S o u n d of cashregisters. T h e lights are d i m . M u r m u r i n g s from t h e b e g g a r a n d
the elephant.
T h e clouds pass a n d repass. T h e y a r e s q u i r t e d w . b l u e l i q u i d a n d d r i p or a r e
m a d e to "rain".
T h e d a n c e r s sag into t h e w a t e r .
F a n blows air into t h e room.
T h e s h i p d r o o p s a t t h e s t e r n a n d sinks d o w n t o t h e floor. T h e walls a r e s p r a y e d
with red which runs down.
A flickering s e m i d a r k n e s s as w h e n w a t c h i n g T V a t n i t e w i t h t h e lites o u t . . .

end of period three


and end of STORE D A Y S I I , R O O M 3
128

Second Draft

S t o r e D a y s II
1 2 9 ROOM 1 STATION 1 (ONE INDEPENDENT)

Marty
Steve

1. C a k e
M a r t y alone. Sits on b e d e a t i n g cake, w h i c h she leaves a p i e c e of on t h e b e d .
H e a r s m o u s e n e a r wall. G e t s u p a n d sets t r a p . C a t c h e s a fly or t w o . R e t u r n s to b e d ,
sitting on cake. Smears. She w i p e s it u p g e n t l y w i t h a p i e c e of p a p e r , off h e r p a n t s
a n d t h e b e d . R e a d s a m a g a z i n e t h e n t h r o w s it d o w n , w a l k s across r o o m to t u r n on
radio. C h e c k s m o u s e t r a p . Steve enters, d r o p s s o m e b e e r cans o u t of a w e t b a g w h i c h
clank on floor a n d goes o u t again.

2. C o m i c s
She m a k e s herself u p in t h e m i r r o r furtively, bizarrely, c o m i c b o o k in h a n d .
Takes poses d e r i v e d therefrom, wrestles lions etc. Is t h r o w n a g a i n s t wall. L i p s t r e m -
ble. She coughs, b r e a k s h e r acting, w a l k s a r o u n d a n d t h e n sits d o w n on b e d a n d
s c r u n c h e s u p against wall. Steve e n t e r s a n d m a k e s a p h o n e call a n d leaves a lot of
objects on t h e floor old flowers etc.

3. W a r
She takes o u t a p a i n t set a n d p a i n t s h e r pillows. She sits d o w n w i t h t h e m . She
takes off h e r shoes a n d polishes t h e m . Steve e n t e r s a n d sits d o w n . H e tells h e r a b o u t
his w a r experiences. She r e m a i n s d e t a c h e d , from t i m e to t i m e d i r e c t i n g w h a t she
believes a very p e n e t r a t i n g look at h i m from u n d e r , w h i c h h e d o e s n t receive, shines
h e r shoes, r u n s h e r jewelry a r o u n d h e r a r m s a n d n e c k a n d r e a r r a n g e s t h e n u t s a n d
bolts in t h e b e d .

4. M o u s e T r a p
Steve sings. R e a d s c o m i c book. She w r i t e s love letters quickly a n d clumsily,
looks slyly at h i m ( b u t n o t s e e i n g h i m , a m a n n e r i s m ) . P u t s s o m e letters u n d e r m a t -
tress, t h r o w s s o m e at him. This d o e s n t r e a c h him. H e u n t i e s his shoes a n d stuffs t h e m
w i t h p a p e r . H e p u t s t h e m in t h e c o r n e r a n d w a l k s a r o u n d w i t h holes in his socks. H e
steps on tacks, h u r t s his foot. H e m a k e s a n u r g e n t p h o n e call. M a r t y checks h e r
m o u s e t r a p , c a t c h e s flies, a r r a n g e s h e r pillows a n d t h e objects o n t h e b e d .

5. T e a r s
She cleans u p t h e b e d s w e e p s off t h e c a k e pieces, t o r n letters n u t s & bolts etc.
a n d takes a b r o o m a n d s w e e p s a r o u n d t h e b e d . She sits d o w n on t h e b e d a n d reads.
Steve u n p a c k s his b a g , all sorts of stuff. She cries a little, to t h e wall. Steve takes o u t
n e w s p a p e r . M a r t y checks m o u s e t r a p . She kneels o n t h e b e d looking o u t w i n d o w .
Steve comes u p b e h i n d h e r in a n o t at all sinister w a y , m a t t e r of factly w i t h a knife.
6. Kisses 130
H e slides d o w n t h e elastic on h e r puffed sleeves so t h a t t h e b a c k is b a r e , t o u c h e s
h e r h e r e a n d t h e r e on t h e b a c k w i t h t h e b l a d e , like kisses. T h e n w i t h coins a n d mir-
rors, all of w h i c h h e leaves on t h e b e d . H e goes out. M a r t y sits d o w n , b r u s h e s off all
t h e s e t h i n g s n o w on t h e b e d . She takes off blouse. She checks t h e m o u s e t r a p , table,
h e r pillows etc. etc.

ROOM 2 STATION 2

Lucas
Cora

1. S a u s a g e s
L u c a s climbs d o w n from t h e attic w e a r i n g e v e n i n g jacket. C o r a is on floor. H e
examines m e a t h a n g i n g from ceiling in room. H e spits on t h e floor. H e goes to w a s h
h a n d s . T h e sink fills w i t h red. H e shines u p a n d p u t s on his silver glasses. P u s h e s
C o r a aside a n d goes to t a b l e a n d starts stuffing small sausages.

2. T h e Phone
T h e p h o n e rings. T h e b u t c h e r stops stuffing. H e m o v e s C o r a to o t h e r side of
r o o m a n d goes to a n s w e r it. Blood r u n s d o w n : Yes Yes Yes Yes Yes Yes Yes Yes Yes
Yes etc. etc. fast. H e slams receiver d o w n . Goes b a c k to t a b l e a n d starts r e m o v i n g
pins w h i c h h o l d t o g e t h e r roast pieces. Nails w h i c h h o l d t o g e t h e r w o o d pieces. C o r a
h u m s . H e says: s h u t u p !

3. Books
H e h a n g s u p pieces of roast. T a k e s off a n d o n glasses, polishes t h e m . T a k e s o u t
h u g e scissors a n d cuts p h o n e b o o k into s q u a r e parts, ties t h e m t o g e t h e r . H u m s .
Sprinkles t h e m w i t h w h i t e p a i n t a n d b l u e a n d t h e n piles t h e m carefully. H e m o u n t s
l a d d e r a n d lays t h e p a c k s upstairs. H e b r i n g s d o w n a pile of fresh p h o n e books.

4. T h e Cleaver
H e takes d o w n a h u g e cleaver, a p i e c e of m i r r o r a n d b r a n d i s h e s it in t h e flashing
light. C o r a b u r p s . S h u t u p ! h e says. T h e p h o n e rings. H e m o v e s h e r again. A n s w e r s it.
Blood r u n s d o w n . Yes Yes Yes Yes Yes Yes Yes Yes etc. R e t u r n s to t a b l e . C l e a v e s books.
C l e a v e r flashes tears books a p a r t . H e piles t h e m neatly. H u m s . C r u s h e s bulbs. C a r e -
fully w i t h cleaver s w e e p s t h e m i n t o box. Salts t h e m . C u t s m e t a l artistically w i t h
shears.
HHNH

131 5. A Bucket
Picks u p C o r a a n d m a n e u v e r s h e r o n t o table. She slips off. T h e p h o n e rings
again. Yes Yes Yes Yes Yes Yes etc. etc. L e a v e s p h o n e h a n g , p u t s u p C o r a again.
Swears, s h e falls off a g a i n . H a n g s u p p h o n e in a pool of b l o o d . P u s h e s h e r u p b u t she
falls, u p b u t falls. T r i p s over a b u c k e t of b l o o d w h i c h splashes, C o r a falls off, leaves
it all a n d starts to shave.

6. Shaving
L e a v e s off shaving. R e a c h e s u p to a t t i c w i t h s h a v e c r e a m still o n a n d b e g i n s to
h a n d d o w n g i g a n t i c e i g h t e e n foot m a n leg t h e n a n o t h e r leg a r m t r u n k . All kinds of
stuff comes d o w n also. T h i g h s n o w a n d chest a r m s h e a d , it fills t h e w h o l e r o o m dis-
p l a c i n g t h e h a n g i n g m e a t . H e b e g i n s forcing it into rooms I a n d III . . .
132
ROOM 3 STATION 3

Mickey
Jackie

1. Toys
M i c k e y sits o n e d g e of d a n c e floor facing a u d i e n c e , s i p p i n g o u t of a p e p s i bottle.
Jackie is a b o v e o n shelf w i t h a b u n c h of toys s e w n of muslin, a ship, a sailboat, t h e
city of NY u p s i d e d o w n etc. a flag. A h a n d . She d a n g l e s t h e m b e t w e e n h e r d a n g l i n g
legs a n d rolls d o w n h e r stockings, a n d rolls t h e m u p a g a i n . M i c k e y t a k e s h o s e a n d
sprays floor w h i c h r e a r r a n g e s all t h e objects t h e r e : old shoes, p a p e r s , b u t t s , m u d etc.
etc. She picks u p c e r t a i n objects in a b u r l a p b a g . sets it aside a n d sits d o w n , f a n n i n g
herself.

2. T h e Paper
Jackie t h r o w s d o w n objects o n e b y o n e on d a n c e floor. M i c k e y takes o u t p a p e r
r e a d s it. Jackie t a p s at it w i t h h e r toes a n d teases M i c k e y from above. M i c k e y t h r o w s
d o w n p a p e r a n d d a n c e s . Jackie a p p l a u d s . Jackie r e a d s p a p e r , M i c k e y d a n c e s on.
She piles t h e objects u p b e n d i n g over a n d kicks a few small pieces off t h e floor.

3. T h e Broom
Jackie lying seductively. M i c k e y starts to s w e e p t h e floor w i t h b l o o d y b r o o m
trailing all sorts of debris. H a r d work. She sips from p e p s i b o t t l e . Jackie c h a n g e s
position, she d r o p s h e r shoes a n d tries to g e t d o w n . B u t she is afraid. M i c k e y ignores
h e r sits d o w n a n d r e a d s t h e p a p e r . Jackie sticks feet into p a p e r , i g n o r e d b y Mickey.
She hesitates p r e t e n d s w a n t s h e l p b u t finally d r a w s herself b a c k u p .

4. A Customer
H e n r y arrives. H e p a y s in p e b b l e s c o v e r e d w i t h dirt w h i c h M i c k e y d r o p s in h e r
dress. T w o turns, t h a t ' s all. H e leaves. Jackie stretches d o w n to h e r . She climbs d o w n
o n h e r back. M i c k e y sits d o w n . Jackie w a l k s a r o u n d freely. H e n r y r e a p p e a r s , m u d
a g a i n , for Jackie q u i c k w a l t z v e r y t e n d e r . H e n r y leaves.

5. Knives
T h e girls d a n c e , y a w n i n g Jackie sings She pulls a knife, t h e y fight a little bit.
M i c k e y sits d o w n a n d r e a d s t h e p a p e r . M i c k e y ignores h e r .

6.
Jackie c h a n g e s to m a n s c o s t u m e , t h e n to e l e p h a n t c o s t u m e . T h r o w s h e r toys u p
o n shelf a n d climbs after. T h r o w s stuff d o w n o n d a n c e floor a g a i n spitefully. M i c k e y
is p l a y i n g t h e t a m b o u r i n e .
ROOM 3 STATION 4 & 5

Henry
Gloria
Rachel

1. Philosophy
H e n r y sits at t a b l e facing a u d i e n c e c u t t i n g s t r a n g e s h a p e d a n i m a l s from b i g
sheets of p a p e r , following a line, saying h u m h u m . Gloria w i t h t w o h a n d mirrors to
his left is looking a t h e r f r a m e in t h e bl. dress. R a c h e l a t m a n t e l b a c k p l a y i n g w i t h t h e
objects there.

2. Cut-outs
H e n r y pins u p t h e c u t o u t s over t h e m a n t e l p i e c e , Sticks self. O u c h . Gloria lies
d o w n rigidly on h e r b a c k a n d p t s h e r legs r e d w h i t e a n d b l u e . R a c h e l chokes H e n r y
a n d stabs Gloria. She takes off h e r dress, b u t H e n r y a n d Gloria simply go on w i t h
t h e i r business, H e n r y c u t t i n g m o r e stuff a n d Gloria p a i n t i n g h e r arms.

3. W e a l t h
H e n r y takes o u t a b a g of silver c a n s a n d b e g i n s c o u n t i n g t h e m . Gloria p a i n t s
h e r face r e d w h i t e a n d b l u e like a n indian. She p a i n t s a b o o k silver, p a g e b y p a g e
a n d t h e covers sets it u p to dry, c o u g h s a n d sneezes. She b r u s h e s h e r t e e t h . R a c h e l
stabs H e n r y several times.

4. A Lecture
H e n r y pulls o u t a r u b b e r l e c t u r e w h i c h h e cuts o u t a n d ties t o g e t h e r a n d t h e n
h a n g s u p over t h e m a n t e l p i e c e . Gloria m o v e s on h e r b a c k i n c h i n g over t h e floor to
silver p e d e s t a l . She exercises h e r legs. R a c h e l sticks a long t u b e in h e r m o u t h . H e n r y
looks at clock a n d goes to d a n c e floor. R a c h e l knocks d o w n all t h e objects on t h e
mantelpiece.

5. A Song
R a c h e l gets u p on p e d e s t a l to sing, b u t n o song. Uses c a r d s of smiles. Gloria
gets u p b r u s h e s herself sits on l o w e r s t e p of h e r p e d e s t a l , t h e n sits herself u p on
next, t u r n s o n light a n d graciously takes h e r places, w i t h a t t r i b u t e s etc. H e n r y re-
t u r n s w i t h e n o r m o u s c a r d s w i t h girlies on t h e m . H e p l a y s solitaire. S u d d e n l y h e stif-
fens, his eyes roll a n d his h e a d h a n g s b a c k ( d e a d ) . Gloria smiles, w i p e s h e r nose
w i t h t h e t o r c h a n d scratches herself w i t h t h e book.

6.
She h a n g s u p h e r a t t r i b u t e s ( G l o r i a ) a n d d e s c e n d s , she falls too ( d e a d ) . R a c h e l
kicks t h e cans a r o u n d t h e floor. She lights a cigarette. She p u t s on a b i g m a n s shirt.
Kicks cans again. Sits d o w n . G r a b s H e n r y ' s ear, looks a w a y . R u n s t h r u h e r box of
smiles.
134

ROOM 3 INDEPENDENT STATION (6)

1. T o m a t o e s
F i l m begins. P a t enters, looks for seat, feels chair, a b o v e a n d Below. Sits d o w n .
C l a e s comes after, sits d o w n , s l u m p s in chair. B o t h w a t c h film. C l a e s falls asleep,
h e a d rolls. P a t leaves. R e t u r n s as v a u d e v i l l e e n t e r t a i n e r quickly ( s h e t u r n s on lite
from t o i l e t ) goes back. C a s c a d e of t o m a t o e s etc. R e t u r n s to a u d i e n c e

2. Pickpocket
P a t looks u n d e r chair, feels in Claes' pockets, pulls o u t stuff. P r e t e n d s to sleep,
w h e n Claes a w a k e n s . Looks in b a c k p o c k e t s etc. M a n w a k e s u p , takes off his h a t . P a t
p r e t e n d s to sleep. T h e t w o c o n t i n u e w a t c h i n g t h e e m p t y screen.

3. N e w Seat
P a t sleeping. Claes feels his p a n t s , gets u p a n d goes out. P a t tries his s e a t n o
good, wriggles ass in it. G e t s b a c k in old seat. Stuffs objects in p o c k e t s h e h a d t a k e n
a n d from floor too. Claes r e t u r n s . P a t excuses herself, enters a g a i n quickly as a
d a n c e r . Claes sleeps, lights c a s c a d e of t o m a t o e s etc. P a t r e t u r n s , sits d o w n , sleeps.

4. Affection
Claes w a k e s u p , starts to talk to Pat. His b r e a t h smells. She leans a w a y from him.
She excuses herself, goes out, lights on. She r e t u r n s as vaudeville. O u t a n d lights off.
She c o m e s b a c k in, s l u m p s in seat. H e p u t s his a r m a r o u n d Pat. She knocks it off. H e
casts his h e a d b a c k a n d forth. P a t excuses herself.

5. Coins
P a t comes in in vaudeville. This t i m e she t o u c h e s a n d plays to Claes. She does
t h i n g s to c u r t a i n , o t h e r objects a la s t r i p p e r etc. H e snaps his fingers. She o u t lights
off. She c o m e s b a c k shuffling, trips on h i m . H e hits h e r . She scares h i m b y p u t t i n g
t w o coins in h e r eyes a n d cackling. H e laughs, h e h i d e s face, goes to sleep.

6. M a g i c
Claes gets u p feels his p a n t s , leaves. P a t t h e same. T h e film goes on. T h e y c o m e
b a c k in lights etc., as m a g i c i a n a n d assistant. H e m a k e s h e r d i s a p p e a r . T o m a t o e s ,
etc. T h e y r e t u r n o n e b y o n e a n d fall a s l e e p t o g e t h e r .
_ _ :
137 T h e s i g n e d C is a l e g o n s i d e .

Equals

Hair- -Chicago
Hair- -Bacon Bacon-
Hair- -Phone
( B u t t ) erfly Hamburger (BUttocks)
Sail Mountain Pie Pie Cap Ship (from side)
Pie A Crotch Cone (w. circle)
(fr. t o p )
Hat Mouth (Lips) B a n a n a Split Cup Gun (Cap)
Mouth Hamburger (Mouth to Buttocks) Cap- -Ham
F r a n k f u r t e r in B u n Airplane (Sausage turned to F u s e l a g e
Newspaper
Earrings Airplane Wheels- -Brassiere- -Breasts
Fuselage Ice Cream Cone -Wonder Bread (perspective) Thigh
Layer Cake Flag (Pie)
Iwo Jima Monument P i e -Battleship
Propeller F r a n k f u r t e r or H a m b u r g e r (rel. to C o w l i n g )
Plane Flower Mirror
Hamburger W a t c h in C a s e Teeth (False)
Toaster ( p o p u p ) C i g a r e t t e s o u t of p a c k ( p o p u p )
Trylon & perisphere Coliseum Bldg Ray Gun
Train Belt (Tunnels)
Hamburger Meat H e a d ( B u n H a t ) " H a m b u r g e r w i t h h e a d off'
Double popsicle garter belt
garter belt bridge
Girdle- Cathedral
Watch- Apple
Shoe -Baked Potato Coffin Butter- -Body
Obelisk Ironing Board
b o r e d o m is b e a u t i f u l 138
b u t i t is h a r d t o k e e p a w a k e

cosmic somnolence
c a u s e d b y t h e p a s s i n g of a s h i p
thru water
b i r d s t h r u skies
t h e sun across
the firmament

Portrait

T h e o b j e c t i n t h i s c a s e is a h u m a n b e i n g . H i s o u t w a r d a n d inward
p r e s e n t a n d p a s t c o m p o n e n t s . H e w i l l b e p i c k p o c k e t e d of t h e s e & a c o m p o s i -
tion attempted.
A b o x of t h e a n a l y z e d c o m p o n e n t s o r t h e i r r e l a t i v e s , s u b j e c t t o a l t e r e d cir-
cumstances, moving around, movable.

K i n e t i c in a r t m e a n s for m e m o r e t h a n p h y s i c a l m o v e m e n t . It m e a n s
m o v e m e n t in t i m e a n d i d e n t i t y a n d relation, a n i m a g i n a r y activity. Un-
l i m i t e d this w a y . I p r e f e r t h e p h y s i c a l m o v e m e n t in t h e s p e c t a t o r t o o n o t in
t h e work. Its definition d e p e n d s o n his position in t i m e a n d s p a c e a n d in
imagination.

H e invents the work.

W h i t m a n is c o n c e r n e d p r i m a r i l y w i t h t i m e . T h e r e is a b o u t h i m a t i m e
s e n s e w h i c h is f r i g h t e n i n g . H e is t h e m a s t e r of n o t h i n g h a p p e n i n g . H e i s
s u p e r s e n s i t i v e t o s i l e n c e s a n d l o n g p e r i o d s . H e is w r a p p e d i n t i m e .

Stage = place where I paint.


139 T o f u s e m e m o r y a n d p r e s e n t , t h a t is m y g o a l . S t o r e e q u a l s b o t h p r e s e n t
a n d m e m o r y . I n c a r n a t e m e m o r y , t h e d r e a m of a r t .

T h e y e a r is a l s o d i v i d e d i n t o 2 p a r t s . A c t i o n a n d m e m o r y . A n art
p r i m a r i l y of a c t i o n ( p r e s e n t ) . A n a r t of m e m o r y ( p a s t ) . N o w o n e d o m i n a t e s
n o w the other.
T h e Store can b e both.
T h e S t o r e is M y A r t .
Ray-Gun m y poetic p o w e r , m y vision.
In different guises: T h e Store, T h e Street.
E a c h h a s p h a s e s , as I h a v e p h a s e s . M o o d s , often c o n t r a d i c t o r y .

R e s p e c t s e a s o n s r e s p e c t n a t u r e r e s p e c t self. I d e n t i f i c a t i o n w . season
with nature.

M e m o r y b e g i n s t o a s s u m e d o m i n a n c e a b o u t A u g . 1. D e t a c h m e n t in-
creases, c u l m i n a t i n g in isolation later in year. T h u s Blackouts, d e a l i n g as I
introduced them with Time.
Easier to like this period.

S u m m e r b e g i n s in action a n d e n d s in m e m o r y . M o r e a b r u p t change
than other seasons winter/spring, fall/winter. The statement of
s u m m e r is finally m e m o r i a l , t h o is d o e s n t a p p e a r t o b e . I t c u l m i n a t e s in
A u g u s t . H e n c e g e n e r a l s e n t i m e n t a l l o s s s e n s e a s s o c . w i t h s u m m e r . If s u m -
m e r w e r e p l a n n e d for J u n e - J u l y , & A u g c o n s i d e r e d a u t u m n a l , it w o u l d b e
difrt.

T h e a c t i o n p h a s e of t h e S t o r e is s t a t e d i n t h e J a x o n s t a t e m e n t . The
m e m o r y s t a g e still t o b e w r i t t e n . I n S t o r e I t r y t o s u s t a i n f o r m o r p l a c e or
e n v i r o n m e n t t h r u several p h a s e s as w . t h e Street.

f u n n y t h e g i r d l e b e c a m e t h e s y m b o l of a d i r e c t i o n i n m a n y w a y s
n o n e m o r e s u r p r i s i n g t h a n a s a n e x a m p l e of f o r m material the
thin a n d w h i t e ( p l a s t e r ) crust or stiffened cloth (as w i t h stays) at t h e s a m e
t i m e as it b e c a m e t h e p o i n t e r i n t h e d i r e c t i o n of e r o t i c i m a g e r y involving
both merchandise and the female body
141

I find t h a t o n b e g i n n i n g a p i e c e o r a p e r f o r m a n c e I h a v e a l o t o n m y
m i n d n o n e of w h i c h is finally t r u e u n t i l i t h a s c o l l i d e d w i t h t h e f a c t s of
m a k i n g . A s I p r o c e e d a l l t h e t h o u g h t t h a t d o e s n o t w o r k is d i s c a r d e d and
w h a t is r e t a i n e d is s o m i x e d u p w i t h t h e f a c t s of r e a l i z a t i o n t h a t i t c e a s e s t o
b e e x p r e s s i b l e v e r b a l l y . A t t h e c o m p l e t i o n of m y w o r k I ' m a f r a i d I h a v e
n o t h i n g t o s a y a t a l l . T h a t is I h a v e e i t h e r t h r o w n i t a w a y o r u s e d i t u p .

W h a t is a h a t 6 ft h i g h ?

T h e o n l y d e f e n s e a g a i n s t b e i n g t r a p p e d i n s o m e o n e s i d e a of y o u r i n -
t e n t i o n is t o k e e p c h a n g i n g y o u r field a n d w o r k v e r y h a r d , s o t h a t t h e fact
of y o u r c r e a t i o n , w h i c h w i l l a l w a y s b e t h e m o s t i m p o r t a n t t h i n g , always
o v e r s h a d o w s its i n t e r p r e t a t i o n .

N o t forget I a m a sculptor

M y personal struggle has b e e n to return painting to t h e tangible ob-


j e c t , w h i c h is l i k e r e t u r n i n g t h e p e r s o n a l i t y t o t o u c h i n g a n d f e e l i n g the
w o r l d a r o u n d it, t o o f f s e t t h e t e n d e n c y t o v a g u e n e s s a n d a b s t r a c t i o n . T o r e -
m i n d p e o p l e of p r a c t i c a l a c t i v i t y , t o s u g g e s t t h e s e n s e s a n d n o t e s c a p e f r o m
t h e s e n s e s , t o s u b s t i t u t e flesh a n d b l o o d f o r p a i n t . If I h a v e g o n e t o o f a r
i n t h e c l a s s i c a l f a l l a c y of c o n f u s i n g r e a l i t y a n d a r t , I b e g p a r d o n o n a c c o u n t
of m y e n t h u s i a s m .

T h e s t u d i o for m a k i n g a r t g o e s t h r u different guises, n o w a store,


n e x t y e a r p e r h a p s a factory'

H o w are real pants m a d e ?


I d o not think the object-maker n e e d worry himself about w h e r e h e 142
shows. F.ex. t h a t h e s h o u l d w o r r y a b o u t s h o w i n g his objects in a n "art"
gallery or a m u s e u m , or t h a t his objects will inevitably b e misrepresented
a n d p r i c e d a n d e x p l o i t e d a s " a r t " . H e h a s n t m u c h c h o i c e a n d if h i s i d e a is
s t r o n g e n o u g h i t w i l l o v e r w h e l m t h e p l a c e w h e r e i t is p r e s e n t e d . Nothing
is m o r e a p p r o p r i a t e t h a n t h a t a r e v o l u t i o n a r y i d e a b e p r e s e n t e d i n the
p l a c e w h i c h is u n d e r a t t a c k , p r o v i d e d of c o u r s e t h a t i t c a n b e d o n e f r e e l y .
S o m e disguises m a y b e necessary. C e r t a i n initial c o m p r o m i s e s provided
they do not compromise the eventual aim.

C r u c i a l p o i n t is of c o u r s e t h a t a t c e n t e r of m y u s e of p o p a r t is a l o v e f o r
t h e rejected, inexplicable a n d simple. T h e City V e n u s a n d this strange
devotion from this e v e r y t h i n g else follows.

A a g h m y p o m p o u s e x p l a n a t i o n s of a r t , a n d i s o l a t i n g t h e e s s e n c e of a r t , a s
offensive to m e as to o t h e r artists.

b a c k t o m y r e a l i s m t o m y v i e w of t h e w o r l d m y s h i t v i e w

M y m o t i v e s a r e so v e i l e d t o m e t h a t I d o n t t h i n k I c a n p r o v i d e m u c h
i n t h e w a y of b e i n g h e l p f u l a n d t r u t h f u l a b o u t w h a t I h a v e d o n e . M y w o r k
m y s t i f i e s m e , a n d I w o u l d n o t w a n t t o k n o w w h a t I a m d o i n g , e v e n if I
could. Also w h a t p e o p l e see m a y b e m o r e i m p o r t a n t t h a n w h a t I see, a n d
w h a t t h e y s e e is a f t e r a l l t h e t e s t , e v e n if t h e y d o n t s e e i t r i g h t a w a y . I
w o u l d n ' t w a n t to prejudice a n y o n e , or try to m a k e t h e m see w h a t isnt there.

I s p e a k t h r o u g h t h e d r a w i n g s , t h e s c u l p t u r e s a n d all t h e t h i n g s I m a k e a n d
t h r o u g h m y theater, a n d I d o n t like to h e a r myself in w o r d s .

y o u k n o w that disguises are very important to me,


f o r t h e p u r p o s e of e x a m p l e .
I w i s h all m y a c t i o n s t o b e e x e m p l a r y
- r -

0 " x ,-

'"
P A/ < / L -

P i E - f

I I A T L S - U - P

P I t
T e d d y bears jump
tump i dump dump
jump i dump tumpi
dum dump
jeddy bears tump jump
teddy bears jump

T h i n g s h a v e a r a n c i d flavor.
Everyone seems to b e going away. W e should have gone away.
psychology ( m y specialty)
T h e h o u s e is i n n e e d of r e p a i r , a n d f u r n i t u r e . N o w t h a t a l l t h e stuff is o u t ,
theres n o furniture! W e didn't realize that. W e h a v e n t the m o n e y to b u y n e w
either.
T h e p l a c e will n e v e r look like a h o m e n o m a t t e r w h a t w e do. Meantime
there are leaks a n d the refrigerator doesnt w o r k a n d the usual b u g s and
whoo!

I t s l a c k of m o n e y t h a t m a k e s y o u s a d , t h a t s f o r s u r e .
A t t h e store, t h e r e s so m u c h t o do, a n d w i t h o u t t h e c o n v i c t i o n t h a t its
w o r t h it. T a k e f r o m p r e c i o u s c a s h .

O in s u m m e r all t h i n g s g o t o hell. O n e g e t s stretched.

love scene
Armistice
t h e blast in t h e g a s w o r k s
t h e sinking mill
the ruin

Mythic voyages. Interiors.

K e e p t h e s t o r e o p e n a half y e a r a n d t h e n sell it w h o l e .

Get m e a commission to b e transferred into bronze.


Part One: T h e Monster 146

T h e a u d i e n c e comes in directly, finds places. M e a n w h i l e L u c a s is s w e e p i n g t h e


floor w h i c h is c o v e r e d w i t h s a n d , t h r o w i n g d o w n n e w sand, a n d m i x i n g w i t h this
b l u e d r y p i g m e n t . T h e l i g h t i n g is blue, n e u r a s t h e n i c . Slivers of mirrors h a n g b y
string a l o n g t h e wall. A b o v e are forms of stuffed muslin, like sausages or clouds, tied
u p like garlands. L u c a s is d r e s s e d as a w a i t e r , in a w h i t e c o s t u m e .

W h e n t h e t a b l e is set, w i t h a plastic flower in a silver b o t t l e in t h e m i d d l e a n d a


b l u e a n d w h i t e t a b l e c l o t h , L u c a s a n n o u n c e s t h e b e g i n n i n g of t h e p i e c e r a t h e r for-
mally. T h e n a m e s of t h e p a r t s , t h e n a m e s of t h e actors a n d t h e violinist.

J o h n m a y e n t e r before or after t h e a n n o u n c e m e n t . H e sits d o w n facing t h e


l a r g e mirror. W h i t e face a n d a b a g g y suit. H e rises t o p l a y his i n t e r l u d e .

T h e t h r e e relatives e n t e r , sit d o w n a r o u n d t h e table. L u c a s serves t h e m . T h e y


talk, to themselves, to e a c h o t h e r , to L u c a s , in different l a n g u a g e s . O y v i n d - S w e d i s h ,
M a r i c l a - P o r t u g u e s e a n d I r e n e - S p a n i s h . L u c a s r e s p o n d s from t i m e to t i m e in G r e e k .

P a t enters into t h e m i d d l e r o o m a n d m a k e s t h e b e d , w h i c h u p to n o w h a s b e e n
c o v e r e d w i t h a b l a c k cloth. T h e b e d is full of t a l c u m . As s h e shakes t h e m a t t r e s s a n d
covers, t h e d u s t rises, fills t h e r o o m . T h e relatives go on e a t i n g a n d talking. She m a k e s
t h e b e d nicely. She w e a r s little girl p a j a m a s w i t h e l e p h a n t s on t h e m . H a v i n g m a d e
t h e b e d nicely, she leaves.

An ugly m o n s t e r , C l a e s in a b u r l a p c o s t u m e enters, s w i n g i n g its limbs a r o u n d


n e r v o u s l y into t h e a u d i e n c e , p a w s at t h e b e d a n d finally climbs into it.

Action ceases in all rooms. E n d of first p a r t .

J o h n w h o h a s b e e n in his c h a i r t h r o u g h o u t , rises, plays his i n t e r l u d e , slowly,


d e l i b e r a t e l y as before. Sits d o w n .

Part T w o : T h e Bride

T h e relatives r e s u m e their e a t i n g a n d t a l k i n g a n d business. M a r i c l a takes off


h e r b l u e stockings a n d b a t h e s h e r feet in a p a n o n t h e floor. O y v i n d kills a fly or
t w o . I r e n e tries on flat c a r d b o a r d masks. E t c .

Milet, d r e s s e d as t h e g r o o m , enters. H e fixes h i s tie a n d h a i r in t h e m i r r o r in


front of t h e violinist, h a s a few w o r d s w i t h him, a n d t h e n goes into t h e m i d d l e
r o o m . H e finds t h e m o n s t e r s l e e p i n g in t h e b e d . M i l e t p o k e s t h e m o n s t e r . H e t h r o w s
b a c k t h e covers a n d p u s h e s t h e m o n s t e r o u t of b e d , chases h i m a r o u n d t h e b e d . H e
kicks t h e m o n s t e r a n d c h a s e s it o u t of t h e r o o m .
H e sets t h e b e d straight. H e leaves to get his Bride.

H e pulls t h e B r i d e ( P a t ) in slowly. She is w r a p p e d in w r a p p i n g p a p e r p a i n t e d


w h i t e , w i t h a m a s k u n d e r a cowl like a n u n , a n d t i e d w i t h t w i n e . H e pulls h e r d o w n
t h e corridor into t h e b e d r o o m . H e u n d o e s or cuts t h e t w i n e w i t h a pocketknife.

U n d e r t h e p a p e r statue, P a t is d r e s s e d in a c r e p e shift. H e takes t h e b o u q u e t o u t


of h e r h a n d , lays h e r on t h e b e d a n d r e m o v e s t h e c r e p e c o s t u m e , t e a r i n g it d o w n
t h e c e n t e r a n d l a y i n g it aside.

A sort of elation c o m e s over h i m . H e w a l k s r a t h e r v a g u e l y i n t o t h e r o o m of


t h e relatives, s t o p p i n g to e x c h a n g e a few w o r d s w i t h t h e violinist a n d s t r a i g h t e n s
his tie. H e takes a b o t t l e of w i n e a n d sits d o w n a t t h e t a b l e w i t h t h e relatives. T h e y
p a y n o a t t e n t i o n to him. H e toasts t h e m a n d talks to t h e m , in Yugoslavian. T h e y
go on a b o u t their business.

H e gets u p a n d r e t u r n s to t h e b e d r o o m , s t o p p i n g a g a i n to talk to t h e violinist


a n d straightens his tie. H e lifts P a t from t h e b e d a n d carries h e r out.

H e r e t u r n s a n d r a t h e r d r u n k e n l y stuffs t h e b e d w i t h b e e r cans p a i n t e d silver


a n d feathers from a b a g h a n g i n g over t h e b e d .

H e staggers into t h e relatives' room, a g a i n p a u s i n g b y t h e violinist to talk,


straighten his tie. Sits d o w n , drinks, talks, etc. B u t t h e action soon subsides. E n d
of second part.

J o h n rises to p l a y his i n t e r l u d e .

Part Three: T h e Relatives

A r e c o r d b e g i n s to play ( L u c a s t u r n s it o n ) , of H a w a i i a n selections, T h e H a -
w a i i a n W e d d i n g Song, Blue H a w a i i , Aloha Oe, a 3 3 r p m r e c o r d at 16 r p m , t a k i n g
a b o u t 18 m i n u t e s to p l a y t h r o u g h t h e t h r e e pieces.

This is a very l o n g t i m e u n d e r t h e c i r c u m s t a n c e s . After a b o u t t e n m i n u t e s , t h e


far p a r t of t h e a u d i e n c e is " r e l e a s e d " t h e r o p e s h o l d i n g t h e m b a c k are r e m o v e d ,
a n d t h e y c r o w d u p to t h e last room w h e r e t h e slow action goes on.

All t h e action is in t h e m o s t intense slow m o t i o n . I t s h o u l d t a k e t h e full t i m e


for L u c a s to pass t h e seven or so feet from offstage to t h e t a b l e a n d set d o w n t h e
t r a y h e is c a r r y i n g o n t h e t a b l e . T h e objects a r e f a s t e n e d to t h e t r a y b y strings, so
t h a t t h e y c a n only fall a short distance. T o k e e p t h e objects involved u n d e r control,
in time, will b e t h e b i g g e s t p r o b l e m .
L u c a s a l r e a d y h a s a m a s k on, m a d e of a l u m i n u m p a p e r s p r a y e d w h i t e . 148

T h e Relatives p u t on masks m a d e on t h e spot a t t h e b e g i n n i n g of t h e p a r t .


T h e y c r u s h t h e a l u m i n u m p a p e r i n t o t h e i r faces, m a k i n g r o u g h masks.

M a r i c l a w h o s h o u l d b e s t a n d i n g , h a v i n g given h e r chair to Milet, h a s a b a m b o o


stick w i t h a c r a y o n in it, w i t h w h i c h she d r a w s a n o u t l i n e a r o u n d h e r b o d y a n d a r m
a n d h a n d a n d fingers. T h i s s h o u l d t a k e h e r 18 m i n u t e s .

I r e n e applies m a k e u p , especially lipstick, to h e r mask. This s h o u l d t a k e h e r 18


m i n u t e s . O y v i n d unfolds a large m a p of t h e universe, full of symbols, w h i c h e v e n t u -
ally covers t h e w h o l e t a b l e . This s h o u l d t a k e h i m 18 m i n u t e s .

L u c a s enters, walks, sets t h e t r a y d o w n , b e n d s over it. T h a t takes h i m 18


minutes.

W h e n t h e r e c o r d h a s p l a y e d out, t h e Relatives a n d M i l e t r e m a i n frozen in their


positions. F r o m this t i m e to t h e e n d t h e y are as d e a d , n e e d i n g only a t o u c h or a
shove to fall or b r e a k a p a r t .

L u c a s leaves t h e room. J o h n rises to p l a y his i n t e r l u d e .

Part Four: T h e Bears

L u c a s r e t u r n s , a t o w e l on his arms. H e w a l k s o n crates, b e n d i n g over t o set


o n e after a n o t h e r in front of h i m , w h i c h raises h i m h i g h a b o v e t h e table. H e d r a g s
a large m u s l i n b a g a n d w h e n h e r e a c h e s t h e table, h e b e g i n s to clear it of t h e m a n y
objects w h i c h h a v e g a t h e r e d t h e r e .

A c o m m o t i o n in t h e o t h e r e n d , b e h i n d t h e a u d i e n c e . P a t a n d Claes in b u r l a p
costumes, e n t e r struggling. Boxing, w r e s t l i n g a n d r u b b i n g t h e b o t t o m s of t h e i r shoes
in t h e s a n d o n t h e floor. Shoving t h e a u d i e n c e , t h r o w i n g n e r v o u s p u n c h e s in all di-
rections. G r a d u a l l y , t h e y m a k e their w a y t h r o u g h t h e a u d i e n c e a n d into t h e last room.

T h e mirror slivers a r e set swinging, t h e large m i r r o r is t u r n e d a w r y . As their


fighting a p p r o a c h e s a n d t h r e a t e n s t h e t a b l e , L u c a s s w a t s t h e m w i t h his towels. H o w -
ever, t h e Bears i g n o r e t h e blows, w r a p p e d u p in their fighting.

I n e v i t a b l y , t h e i r fighting i n t r u d e s on t h e table. T h e relatives are k n o c k e d over


a n d t h e t a b l e t o p is t i p p e d off. T h e chairs fall. L u c a s swats at t h e Bears furiously,
finally drives t h e m off, a n d t h e y r u n out.

L u c a s leaves. T h e r o o m is a mess. T h e violinist rises a n d plays his i n t e r l u d e .


E n d of t h e fourth p a r t a n d Nekropolis II.
I
Rlf6,HmiRa*29 Store

The store was open to the public from Deo. 1 through Jan. 31, two

months, rather than the one month which was planned.

Sales in this period totaled $1655 (as itemized). Of this amount,

$300 is still owed. I will bill for this.

No s a l 33 t a x was computed in the sales.

The expenses for the store, excluding electric bill, not yet re-

ceived, total $368, cuaxxl^ixidusd3CK.xt:haxaKliakat1t3t3tx^4ftax This (as

itemized) includes construction, telephone, photos, utilities, pub-

licity and p r i n t i n g , but not the cost of addressing and mailing,

&ea&acpsxKi*hxtthaxa&xkalfcax ad l i t i o n of Which ought to bring the

amount near tha anticipated $400.

The gallery agreed to pay half the expenses and t a k e a commission

of one third on all sales above $200, or my s h a r e of expenses.

Thus: Sales 1655.00


- 200.00-^
1 4 5 5 . 0 0 "-' 1/3 of $1455.00 - $485.00

- 200.00
285.00

I owe the gallery $285.00.

Saciasltax on salsa<-^o be paid: <*f ? , CS %3&~ <r&


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