This is interesting to see how his writing process was. It seems to me that he wrote short sentences as schematic ideas or combined words and sounds and then he developed them and completed the verses. Surely Paris Journal is so sketchy, because there are some short ideas about which he wanted to go back them after.
Post by TheWallsScreamedPoetry on Aug 8, 2013 11:49:26 GMT
Phantasmagoria, magic lantern shows, spectacles without substance. They achieved complete sensory experiences through noise, incense, lightning, water. There may be a time when we'll attend Weather Theaters to recall the sensation of rain.
Cinema has evolved in two paths.
One is spectacle. Like the Phantasmagoria, it's goal is the creation of a total substitute sensory world.
The other is peep show, which claims for it's realm both the erotic and the untampered observance of real life, and imitates the keyhole or voyeur's window without the need of color, noise, grandeur.
Cinema discovers its fondest affinities, not with painting, literature, or theater, but with the popular diversions–comics, chess, French and Tarot decks, magazines, and tattooing.
The poem Jim Morrison wrote about Étienne-Gaspard Robert whose grave is in Pere Lachaise cemetery. He was a prominent Belgian stage magician and developer of image technique phantasmagoria which is depicted on his eleborate tomb. As well as his pioneering work on projection techniques for his shows Robert was also a physics lecturer and a keen balloonist at a time of aviation development.
Étienne-Gaspard Robert (1763–1837), often known by the stage name of "Robertson", He was described by Charles Dickens as "an honourable and well-educated showman".
Phantasmagoria Robert attended a new form of illusion performance in 1793 in the form of a magic lantern show by Paul Philidor. Philidor was one of the earliest known performers of such shows having adapted what he himself had seen by Johann Georg Schröpfer. With his understanding of optics, Robert realised the potential of what would become "phantasmagoria". His further technological developments were combined with his skills in painting and showmanship, developing a pre-cinema horror show.
Cinema derives not from painting, literature, sculpture, theater, but from ancient popular wizardry. It is the contemporary manifestation of an evolving history of shadows, a delight in pictures that move, a belief in magic. Its lineage is entwined from the earliest beginning with Priests and sorcery, a summoning of phantoms. With, at first, only slight aid of the mirror and fire, men called up dark and secret visits from regions in the buried mind. In these seances, shades are spirits which ward off evil.
Ventriloquism was used to enhance these early 'cinematic' performances with disembodied voices helping to bring the images to life.
The spectator is a dying animal.
Invoke, palliate, drive away the Dead. Nightly.
Through ventriloquism, gestures, play with objects, and all rare variations of the body in space, the shaman signaled his "trip" to an audience which shared the journey.
"That's the trouble with reality!.... it's taken far too seriously! I do hope God is good to me and Santa Claus to the children! Celebrate...this parties over...I'm going home!"