The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
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I think the Spirit, is the one thing we have to rely on. It has been handed to us as a live and precious coal. And each generation has to make that decision whether they want to blow on that coal to keep it alive or throw it away... Our language, our histories and culture are like a big ceremonial fire that's been kicked and stomped and scattered...Out in the darkness we can see those coals glowing. But our generation, whether in tribal government or wherever we find ourselves--Choctaw, Cherokee, Chickasaw, Creek, Seminole--are coal gatherers. We bring the coals back, assemble them and breathe on them again, so we can spark a flame around which we might warm ourselves.
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The greatest honor that can be paid to the work of art, on its pedestal of ritual display, is to describe it with sensory completeness. We need a science of description. Criticism is ceremonial revivification.
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John 2:6:
Nearby stood six stone water jars, the kind used by the Jews for ceremonial washing, each holding from twenty to thirty gallons.
(NIV)
Now there were six waterpots of stone standing there, as the Jewish custom of purification (ceremonial washing) demanded, holding twenty to thirty gallons apiece.
(AMP)
And there were set there six waterpots of stone, after the manner of the purifying of the Jews, containing two or three firkins apiece.
(KJV)
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