cheese

So the hospital was placed next to the spa and the theatre building.
- the emphasis on togetherness
- the idea of being together with a large number of people
- the importance of experiencing something together
- the moment of "poiesis"

What is poiesis?

Poiesis is etymologically derived from the ancient Greek term ποιεῖν, which means "to make".

It is defined as production or formation on Merriam-Webster, and on Collins as indicating the act of making or producing something specified. On Wiki, it is the process of emergence of something that did not previously exist on Wiki.

- emphasizes the process of creation.

So what does it mean when a large group of people gather and experience poiesis together?
The whole experience is considered their act of creation in the process of poiesis.

On February 9, 1967, Moorman achieved widespread notoriety for her performance of Paik's Opera Sextronique at the Film-Makers Cinematheque in New York City.[15] For this performance, Moorman was to perform movements on the cello in various states of nudity.[15] In the program for the performance, Paik wrote: "The purge of sex under the excuse of being 'serious' exactly undermines the so-called 'seriousness' of music as a classical art, ranking with literature and painting."[15] During the first movement, Moorman played Elegy by the French composer Jules Massenet in the dark while wearing a bikini that had blinking lights.[15] For the second movement, she played International Lullaby by Max Mathews while wearing a black skirt, but while being topless, and was arrested mid-performance by three plainclothes police officers.[15] She was not able to return to perform the last two movements of the work.[15] As a result of Opera Sextronique, Moorman was charged with indecent exposure, though her penalty was later suspended, and gained nationwide fame as the "topless cellist."[4] She was also fired from the American Symphony Orchestra.[11] For her court trial, Moorman and Paik restaged and filmed the first two movements of Opera Sextronique with the filmmaker Jud Yalkut, though the film was not permitted to be shown in court.[15]

"as long as you don't fornicate on the stage, you are OK!" we were told by our lawyer.

as long as you don't fornicate on the stage, you are OK!" we were told by our lawyer.

She was convicted, but then afterward it became a law that you could have wilful partial nudity in an artwork, whereas it had been a law before that you couldn't.

Anne Halprin did a performance with nude men and women before that and there was a review written about it, so Charlotte_Moorman case helped to change the law. it set a precedent.

topless cellist!
dancers, others were okay, but a traditional cellist? it effected many people deeply.

Tadashi Suzuki with Anne Bogart in 2017.

SITI is noted for combining the Viewpoints process of Anne Bogart with the Suzuki Method of Actor Training of Tadashi Suzuki. Both techniques are alternatives to the Stanislavski-based Method training which has dominated American stage and screen for generations.[citation needed] Over their history, the company produced more than forty shows.[2]

Richard Foreman (born June 10, 1937 in New York City) is an American avant-garde playwright and the founder of the Ontological-Hysteric Theater.[1]

Foreman mounted his first production with Ontological-Hysteric Theatre in 1968 at the Film-Maker's Cinematheque on Wooster Street, where he worked under the Fluxus leader George Maciunas.[15] Ontological-Hysteric Theatre balances a primitive and minimal art style with extremely complex and theatrical themes.[1]

Ontological-Hysteric Theatre

Critical Analysis
In his 1973 essay, "Richard Foreman's Ontological-Hysteric Theatre," theater critic Michael Kirby aptly breaks down the aesthetics of OHT through the case study of Foreman's play Sophia = (Wisdom) Part 3: The Cliffs. Kirby uses the elements of setting, picturization, speech, written material, control, movement and dances, sound, objects, relation to film, structure, content, and effect to analyze Foreman's theatrical vocabulary.[18] Among his observations, Kirby notes that although "Sophia" is a play without a plot, it produces its own kind of structure of "thematic webs of visual and verbal ideas and references."[18] Foreman achieves this visual structure through "picturization.' By picturization, Kirby means that Foreman's staging is presented as "sequences of static pictures" in which the actors adjust themselves into tableaux as opposed to moving continuously throughout the play. Kirby also notes that Foreman makes use of written text that is projected on screens on the set. These projected words, Kirby describes, are both direct addresses to the spectator and "expository information".[18] Kirby also writes about how Foreman literally controlled the pace and tempo of every performance of "Sophia." During the performance, Foreman would sit at a table in front of the stage, controlling the projections and sound cues. By acting as stage manager, Foreman was able to insert himself into he performance as it unfolded. Kirby also discusses the role of sound in Foreman's plays. He writes, "Noise, too, serves as both background and as an explicit part of the action." At times, recordings of lines take over for the actors' actual voice, creating a sense of alienation

The Wooster Group is a New York City-based experimental theater company known for creating numerous original dramatic works. It gradually emerged from Richard Schechner's The Performance Group (1967–1980) during the period from 1975 to 1980, and took its name in 1980; the independent productions of 1975–1980 are retroactively attributed to the Group.[1]