ADRIENNE HERR
from I CONTAIN NO IMAGINATION THIS WORK IS EMPTY AND MINDLESS SO THAT PEOPLE WILL RECOGNIZE WHEN I SAY I CANNOT DRAW IN LIGHT BLUE I AM NOT TELLING YOU IT IS HARD
DON’T LEAVE ME, MY GOLLY, DO NOT LEAVE ME
I SAW THE KISS AND THE CONTENT, VAVOOM, I’M NOW IN THE ANARCHY SOMEWHERE A RAT LYING IN THE MIRROR OF A CHILD, VAVOOM
IN OTHER WORDS THERE IS A DOUBLE NON-EXISTING BY THE SEA, SOCIAL ERASURE YET PRESENCE IN TIME, AND NON-EXISTING BECAUSE THEY HAVEN’T OCCURED YET, A PREMONITION THAT IS THE ACTIVE PRESENT, A RESOLUTION OF TIME
IS THE ONLY WAY TO UNLOCK THE EMOTIONS FLOW TO SOMEWHERE REAL TO BE MORESO FICTION IN YOUR NAME HERE I AM STANDING ON YOUR HORSE
SO I CANNOT SAY ANYTHING BUT TURN MY HEAD AND STOP YELLING FOR YOU
I CONTAIN NO IMAGINATION THIS WORK IS EMPTY AND MINDLESS SO THAT PEOPLE WILL RECOGNIZE WHEN I SAY I CANNOT DRAW IN LIGHT BLUE I AM NOT TELLING YOU IT IS HARD
SO IT IS THAT SO HELP ME SAVE YOU I DIDN’T EVEN KNOW I HAD THIS FEELING OF MY FEAR OF “THE US” THAT I NEEDED TO WRITE THIS THAT I NEEDED THIS DESIRE TO
WORK FOR THE DEATH DOOR TO BECOME SUICIDAL I WISH TO KISS THE BLOOD OF A DOCTOR
EMOTIONAL HUMOR IN THE STORY OF THE HUNTING TREE EXACTLY WHY ARE WE STILL NOT DYING
LIKE ALL OF THE PLANETS AND THEIR SIRENS ABOUT TO DISCOVER SHAPE AND DESIGN THEY MAKE ME SO ANGRY IT IS NOT A FACT THEY ARE GRIEVING
IS THE REFLECTION OF EXISTING MATTER A CONTINENTAL SCREEN OR WILLINGLY UNKNOWN IN THE PROCESS OF STUDY THIS AS A PROOF FINAL AND INTIMATE
NO, AN ANSWER HAS INFINITE ACCESS POINTS LIKE PAINTINGS AND PHOTOS TAKE CARE OF WHAT WE REALLY WANT WHEN WE THINK OF THE CREATOR
IT’S ALL COMING BACK TO PARADOX OR SOMETHING THAT IS NOT THE COMMON SENSE AS EMPLOYING AN INTEGRATED TERROR WHICH IS LOVING OR WHAT OF THIS PERFECT CIRCUMSTANCE
OF RAIN SUN AND SEA LARGE LEMON COLORED PETUNIAS GROW ON WATER WHY FLIGHT OR HOW THOSE BODIES ARE FOR YET ANOTHER ITERATION
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Settings for 5 plays
The Reader
Infinity [ or one ] will be again divided as a ventriloquist tosses their voice into the guillotine. Like this the reader becomes plural and so the readers cannot fit into the buildings but flood the streets.
The Figure: Act One
Anger becomes ecstatic knowledge. All figures explode across the body I let myself be invaded by fear or the soul as a magnet containing opposites. I am pulled in and kept hostage there until my childhood ends. The child leaves and I am in the moment of writing.
The Figure: Act Two
After many years pass, I discover the reader inside me. The reader here is a figure, a male figure. The attempt to remove by consuming.
The Figure: Act Three
The fragementation of the voice that happens when that voice developed under certain conditions that disallowed speaking to onself only. The surveilled voice contains multiples. This is what makes a writer resist language.
The Child
No Setting
The Image
The pulse feeling for another image inside itself but only as the world. The image moving towards performance of the ghost. The destruction of evidence.
Double-Soul: Act One
An unknown third breaks the dichotomy of mother and child. The collapse of this into multiplicity which is always besides and beyond complete, not lonely, not a victim in grief. The power of the elements and their volatile relationship to one another, water and fire. A play about steam.
Double-Soul: Act Two
The poetry is possible because of a destroyed relationship between the reader and writer. The rest of the play is an attempt to avenge this relationship in order to render the poetry impossible. Here the actors should improvise.
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Adrienne Herr is an artist working within cross disciplines of sound, text, installation and performance. Language and the languages of performative contexts are treated poetically in her work to reframe our notion of materiality. The singular voice is rendered multiple in a translation across diverse forms to diverge from language-based sense making. She is the author of two books, ALL THE ANIMALS ARE BAD AND NOBODY WANTS TO RIDE THEM OR BUY ANY OF THEIR FLOWERS (2023) and Other problems involving three bodies(2024). More at adriennes.site.