Life... Time's Fool...

But thoughts, the slaves of life, and life, time's fool,
And time, that takes survey of all the world,
Must have a stop.

William Shakespeare 

The Party - a play divided into two acts by Jane Arden

Programme of the first production of
The Party by Jane Arden

Jane Arden was born in Newport, South Wales, and went to the Royal Academy of Dramatic Art when she was fifteen. After a period in repertory she went to America and lived in Greenwich Village "looking around absorbing all I could - looking for new ideas". It was while there that she first began writing seriously. She returned to England because she could only "write out of my own background". Charles Laughton happened to see the unfinished script of The Party, and immediately wanted to act in it. According to the author, he nagged her until the play was completed.

The play was first performed on Wednesday May 28th, 1958, with a cast that included Charles Laughton, Albert Finney, Elsa Lanchester, Ann Lynn and John Welsh.

Ann Lynn and Albert Finney in
The Party by Jane Arden

Elsa Lanchester and John Welsh in
The Party by Jane Arden

Colloque sentimental by Paul Verlaine with English translation

Paul Verlaine with Arthur Rimbaud

Melancholy, sadness, fears, and sentimental yearnings form the heart of much of the work of Paul Verlaine (1844-1896). He could never be regarded as an intellectual, or a thinker. On the contrary, the preoccupation of his poetry is one of naive self-expression. As he said himself: "Art, my children, is to be absolutely oneself."

Here is one of his poems, along with our own translation.

COLLOQUE SENTIMENTAL

Dans le vieux parc solitaire et glacé,
Deux formes ont tout à l'heure passé.

Leurs yeux sont morts et leur lèvres sont molles,
Et l'on entend à peine leurs paroles.

Dans le vieux parc solitaire et glacé,
Deux spectres ont évoqué le passé.

- Tu souvient-il de notre extase ancienne?
- Pourquoi voulez-vous donc qu'il m'en souvienne?

- Ton coeur bat-il toujours à mon seul nom?
Toujours vois-tu mon âme en rêve? - Non.

- Ah! les beaux jours de bonheur indicible
Où nous joignions nos bouches! - C'est possible.

- Qu'il était bleu, le ciel, et grand, l'espoir!
- L'espoir a fui, vaincu, vers le ciel noir.

Tels ils marchaient dans les avoines folles,
Et la nuit suele entendit leurs paroles.


SENTIMENTAL CONVERSATION

In the lonely park in the winter's blast,
Two forms have recently passed.

Their eyes are dead, their lips lifeless too,
And of the words they spoke were heard barely a few.

In the lonely park in the winter's blast,
Two spectres are evoking the past.

"Do you recall, my sweet, those raptures of old?"
- "Why recall what's already gone cold?"

"Does the sound of my name make your heart beat more?
Does my soul haunt your dreams still?" - "Not any more."

"Ah! those happy days of inexpressible glee
With our mouths joined together!" - "Possibly."

"How the sky was so blue and our hopes were so high!"
- "Hope has departed, vanquished, in the dark sky."

So through the wild oats they followed their way,
With only the night to hear what they say.

Blue Ones - A medical dialogue

Doctor’s consultation room. NESS, the doctor, seating behind her desk. JACOB, her patient, comes in.


NESS: Take a seat, Jacob. That one there. Is that all right?

JACOB: Absolutely.

NESS: So. Any news?

JACOB: There is. And I should have told you sooner. I’m sorry about that.

NESS:  Oh, gracious me, there’s no need to be sorry. So what is it? Please, in your own words. And I’ll make notes if I may. Is that all right?

JACOB: Absolutely. 

NESS: Right, well I’ll just get my pen ready. I shan’t be a moment. Is that all right?

JACOB: Absolutely.

NESS: Right, I’m ready. Off you go.

JACOB: So… well…. There’s been a development. If I can put it that way.

NESS: Absolutely. What kind of a development?

JACOB: Not a very good one, I’m afraid. I’m sorry about that.

NESS: Oh, you don’t need to be sorry, gracious me, no. A development, you say?

JACOB: Yes.

NESS: What kind of a development?

JACOB: Not a good one, I’m afraid. It’s er…. Well, how shall I put it? Er…. Do you mind if I take my coat off? Is that all right?

NESS: Absolutely. It is hot in here. Put it on the peg there. Is that all right?

JACOB: Absolutely. (Takes coat off) So, as I was saying, there’s been a development.

NESS: Yes, you said. A development, eh?

JACOB: Absolutely. 

NESS: So what was it?

JACOB: Well…. I don’t know how to put it.

NESS: Why not start at the beginning. Is that all right?

JACOB: Absolutely. Well…. It’s like this. Do you remember when we talked last time?

NESS: I do. Absolutely.

JACOB:  And do you remember what I told you last time?

NESS: No. Just remind me, would you? Is that all right?

JACOB: Absolutely. So, where was I?

NESS: Last time. You were telling me about last time. 

JACOB: Right. So. Well. Yes, last time. Yes. Absolutely. So, remember I said that I had forgotten to take the pink ones?

NESS:  Oh, no. Don’t remember that.

JACOB: You don’t remember?

NESS:  No. I’m sorry about that. Is that all right?

JACOB: Absolutely. Anyway….

NESS: You forgot to take the pink ones?

JACOB: Yes. I’m sorry about that. 

NESS: Goodness me, there’s no need to be sorry. So you forgot to take the blue ones?

JACOB: No. The pink ones.

NESS: The pink ones? Oh, yes. Did I say the blue ones. I’m sorry about it.

JACOB: Oh, there’s no need to be sorry. Absolutely. 

NESS: Thank you, Jacob. May I call you Jacob? Is that all right?

JACOB: Absolutely.

NESS: So, the blue ones. You forgot to take the blue ones.

JACOB: No. The pink ones.

NESS: Oh yes! The pink ones. The pink ones, yes. I’m sorry about that. Is that all right?

JACOB: Absolutely, Ness. May I call you Ness. Is that all right?

NESS: Absolutely, Jacob. So. Right. The pink ones, eh?

JACOB: Yes.

NESS: Right. Yes. So you forgot to take them, eh?

JACOB: Yes. I’m sorry about that.

NESS: What about the blue ones?

JACOB: Blue ones?

NESS: Yes.

JACOB: I don’t take any blue ones.

NESS: Oh. 

JACOB: No.

NESS: Right. No blue ones, eh?

JACOB: No. I’m sorry about that.

NESS: Oh, goodness me, there’s no need to be sorry. So, you forgot to take the pink ones?

JACOB: Yes. I’m sorry about that.

NESS: Anyway, how do you feel?

JACOB: How do I feel?

NESS: Yes.

JACOB: How do you mean?

NESS: About not taking the pink ones?

JACOB: Oh, I’m sorry about that. Is that all right?

NESS: Absolutely! But how do you feel? I mean, do you feel all right?

JACOB: Absolutely!

NESS: Oh, good! Absolutely! (Pause) Right, well in that case everything seems to be fine. So I’ll see you again in six months time. Is that all right?

 I’ll see you next time.

JACOB: Absolutely! (Puts his coat on) Right, well, until next time.

NESS: Bye bye, then. Bye bye. 

JACOB: Bye bye.

Jacob leaves.

NESS: (alone - to herself) I could have sworn he took blue ones. But he must know what he takes. Absolutely! (Her telephone rings - she listens) Oh, yes, send him in. Absolutely. Send him in. Is that all right?

Finis.

Lezione di geografia / Geography Lesson by Pietro Longhi.

Lezione di geografia
Pietro Longhi

Notice the skeleton atlas on the floor, the gentleman seated in the easy chair leafing through a ramshackle volume, and the delightful lady, equipped with a compass, measuring the distance on a world map on a small table, while two serving ladies bring coffee.

Guarda l'atlante per terra, il gentiluomo in poltrone che sfoglia uno squinternato volume, e la graziosa dama, munita di compasso, che mesura le distanze su una mappamondo da tavolino mentre due cameriere portano il caffe. 

Acknowledgement: L'amante senza fissa dimora by Carlo Fruttero & Franco Lucentini.

Harmonie sculpture by Antoniucci Volti.

Harmonie sculpture by Antoniucci Volti.

In the 3rd Arrondissment of Paris, at Place Theodor-Herzi, at the intersection of Rue de Turbigo and Rue Reaumur, is the charming sculpture of a sleeping woman entitled Harmonie.

It is the work of French sculpture Antoniucci Volti (1915-1989) and has had pride of place in the square since 1992.

If you happen to be passing through the square one day why not pause to say Hello. But Sssh! silently, so as not to wake her.

Gambit International Theatre Review 25 - Playscript Issue

Published in 1974, Gambit International Theatre Review 25 contains two plays: The Speakers by Heathcote Williams, freely adapted for the stage by William Gaskill and Max Stafford-Clark; and Tripe by Lexie Micalef.

The Speakers is about the lives of authentic speakers at London's Speakers' Corner encountered by Heathcote Williams in the early 1960s and described in his book. The principal characters are William MacGuinness, an Irish speaker high on dope and meths; Jacobus Van Dyn and his tattoos; Axel Ney Hoch, on the run from his own passions; and Lomas, who has not spoken in years.

The Speakers stage adaptation was the inaugural production by Joint Stock Theatre Company.