Amphitryon half guerroyer contre les Téléboens. Son épouse, los angeles vertueuse Alcmène, attend son retour avec impatience. Mais Jupiter, séduit par ses charmes, l. a. dupe en prenant les characteristics de l'absent. De son côté, Mercure, le messager de Jupiter, s'amuse à faire douter de sa propre lifestyles Sosie, dont il a également pris l'apparence. L'avare Euclion n'a qu'une obsession: mettre en lieu sûr l'"aululaire", une marmite remplie d'or. Que les prétendants se le tiennent pour dit: il ne dépensera pas un sou pour marier sa fille ! Pyrgopolinices, soldat fanfaron, a enlevé l. a. jeune fiancée de Pleusiclés. Les deux amants pourront-ils un jour se retrouver ? Par likelihood, un esclave rusé veille sur eux et rivalisera d'invention pour ridiculiser le ravisseur... Ces comédies virevoltantes, Plaute les a écrites pour un public populaire avide de dépaysement et de rebondissements. Près de deux mille ans plus tard, Molière s'inspirera de ces quiproquos improbables.
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Extra resources for Amphitryon ; L'Aululaire ; Le soldat fanfaron
Novelist William Burroughs’s tone was very much on the wry side – the 1950s version of ‘cool’ – and his promotion of drug-induced alternatives to conventional society (notoriously in The Naked Lunch, 1959) made him a precursor of the 1960s hippies. He was to have a new lease of life when Wilson sought him out for collaboration on the text of The Black Rider (1990). All this questioning fed Malina and Beck’s view that the Living Theatre should contest the status quo. But it had a much wider reach.
There were always ambient sounds, including your heartbeat, which are ‘only called silence because they do not form part of a musical intention’ (Cage, 1987: 22). A WO R K I N G L I F E 17 18 A WO R K I N G L I F E Looking back, it would seem that Wilson’s silent pieces were influenced by Cage, and he shared Cage’s interest in how the always-there was changed by changed perception; similarly, in how perception could embrace multiple foci and yet shift attention by choice. Cunningham developed this idea in his dance: all points were equally the ‘centre’ of the dance and there were no fixed points in space (Cunningham, 1991: 18).
The alleged words of the Scottish farmer who had witnessed his landing, ‘Come, let’s have a cup of tea with my mum’ (Shyer, 1989: 96), are uttered in a scene where a parachutist descends on a ‘street’ in London. They are out of context and very cryptic, in any case, in the scenic context. 3). The goggles are a replica of the ones worn by Hess, while the cars and the desert are part of a fictitious iconography unrelated to him. The unreal looking cars seem purely arbitrary until they are linked to a recurring phrase in another scene, ‘You’re from Detroit’.
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