Friday, October 30, 2009

Sexy Beast

(Thanks to Wikipedia and Lucie Baker for the following info)

In Roman mythology, fauns are place-spirits of untamed woodland. Romans connected their fauns with Greek satyrs, wild and orgiastic drunken followers of Bacchus. However, fauns and satyrs were originally quite different creatures. Both have horns and both resemble goats below the waist, humans above; but originally fauns had goat-like hooves, satyrs human feet. The Romans also had a god named Faunus and goddess Fauna, who, like the fauns, were goat-people.

Pan in Greek religion and mythology, is the companion of the nymphs, god of shepherds and flocks, of mountain wilds, hunting and rustic music. Two other Pans were Argeus and Nomios. Like Pan, both were the sons of Hermes, Argeus' mother being the nymph Sose, a prophetess: he inherited his mother's gift of prophecy, and was also a skilled hunter. Nomios' mother was Penelope (not the same as the wife of Odysseus). He was an excellent shepherd, seducer of nymphs, and musician upon the shepherd's pipes. Most of the mythological stories about Pan are actually about Nomios, not the god Pan. Although, Agreus and Nomios could have been two different aspects of the prime Pan, reflecting his dual nature as both a wise prophet and a lustful beast.

Wednesday, October 28, 2009

Designing Diagnosis Of A Faun

The world of Diagnosis of A Faun consists of the faun, dancers, doctors, humans and nymphs. These are early costume and character sketches by designer, Robert Eggers.

the faun (Gregg Mozgala)
the nymph (Lucie Baker)

Dr. B (Emily Pope-Blackman)

Dr. A (Dr. Donald Kollisch)

the ballerina (Lucie Baker)

Forgotten Memories Of An Angry "Kid"

This was forwarded on to me by my father from Rex Bent, a friend of the family and former shipmate of my old man (who was in the Navy for twenty-two years)

"Gregg will always have a special place in my heart. Still remember the day he was playing football and some kid called him a 'glimp'. Next thing I remember was him on top of that kid, kicking his ass, and the kid begging for mercy, with Gregg saying 'who's the glimp now?' ".

This pretty much set the tone for the next six years...

Thursday, October 22, 2009


The Afternoon Of The Faun- Stephane Mallarme

These nymphs I would perpetuate.
So clear
Their light carnation, that it floats in the air
Heavy with tufted slumbers.
Was it a dream I loved?
My doubt, a heap of ancient night, is finishing
In many a subtle branch, which, left the true
Wood itself, proves, alas! that all alone I gave
Myself for triumph the ideal sin of roses.
Let me reflect
. . .if the girls of which you tell
Figure a wish of your fabulous senses!

Faun, the illusion escapes from the blue eyes
And cold, like a spring in tears, of the chaster one:
But, the other, all sighs, do you say she contrasts
Like a breeze of hot day in your fleece!
But no! through the still, weary faintness
Choking with heat the fresh morn if it strives,
No water murmurs but what my flute pours
On the chord sprinkled thicket; and the sole wind
Prompt to exhale from my two pipes, before
It scatters the sound in a waterless shower,
Is, on the horizon's unwrinkled space,
The visible serene artificial breath
Of inspiration, which regains the sky.
Oh you, Sicilian shores of a calm marsh
That more than the suns my vanity havocs,
Silent beneath the flowers of sparks, RELATE
"That here I was cutting the hollow reeds tamed
By talent, when on the dull gold of the distant
Verdures dedicating their vines to the springs,
There waves an animal whiteness at rest:
And that to the prelude where the pipes first stir
This flight of swans, no! Naiads, flies
Or plunges . . ."
Inert, all burns in the fierce hour
Nor marks by what art all at once bolted
Too much hymen desired by who seeks the Ia:
Then shall I awake to the primitive fervour,
Straight and alone, 'neath antique floods of light,
Lilies and one of you all through my ingenuousness.
As well as this sweet nothing their lips purr,
The kiss, which a hush assures of the perfid ones,
My breast, though proofless, still attests a bite
Mysterious, due to some august tooth;
But enough! for confidant such mystery chose
The great double reed which one plays 'neath the blue:
Which, the cheek's trouble turning to itself
Dreams, in a solo long, we might amuse
Surrounding beauties by confusions false
Between themselves and our credulous song;
And to make, just as high as love modulates,
Die out of the everyday dream of a back
Or a pure flank followed by my curtained eyes,
An empty, sonorous, monotonous line.
Try then, instrument of flights, oh malign
Syrinx, to reflower by the lakes where you wait for me!
I, proud of my rumour, for long I will talk
Of goddesses; and by picturings idolatrous,
From their shades unloose yet more of their girdles:
So when of grapes the clearness I've sucked,
To banish regret by my ruse disavowed,
Laughing, I lift the empty bunch to the sky,
Blowing into its luminous skins and athirst
To be drunk, till the evening I keep looking through.
Oh nymphs, we diverse MEMORIES refill.
"My eye, piercing the reeds, shot at each immortal
Neck, which drowned its burning in the wave
With a cry of rage to the forest sky;
And the splendid bath of their hair disappears
In the shimmer and shuddering, oh diamonds!
I run, when, there at my feet, enlaced. Lie (hurt by the languor they taste to be two)
Girls sleeping amid their own casual arms; them I seize, and not disentangling them, fly
To this thicket, hated by the frivilous shade,
Of roses drying up their scent in the sun
Where our delight may be like the day sun-consumed."
I adore it, the anger of virgins, the wild
Delight of the sacred nude burden which slips
To escape from my hot lips drinking, as lightning
Flashes! the secret terror of the flesh:
From the feet of the cruel one to the heart of the timid
Who together lose an innocence, humid
With wild tears or less sorrowful vapours.
"My crime is that I, gay at conquering the treacherous
Fears, the dishevelled tangle divided
Of kisses, the gods kept so well commingled;
For before I could stifle my fiery laughter
In the happy recesses of one (while I kept
With a finger alone, that her feathery whiteness
Should be dyed by her sister's kindling desire,
The younger one, naive and without a blush)
When from my arms, undone by vague failing,
This pities the sob wherewith I was still drunk."
Ah well, towards happiness others will lead me
With their tresses knotted to the horns of my brow:
You know, my passion, that purple and just ripe,
The pomegranates burst and murmur with bees;
And our blood, aflame for her who will take it,
Flows for all the eternal swarm of desire.
At the hour when this wood's dyed with gold and with ashes
A festival glows in the leafage extinguished:
Etna! 'tis amid you, visited by Venus
On your lava fields placing her candid feet,
When a sad stillness thunders wherein the flame dies.
I hold the queen!
O penalty sure . . .
No, but the soul
Void of word and my body weighed down
Succumb in the end to midday's proud silence:
No more, I must sleep, forgetting the outrage,
On the thirsty sand lying, and as I delight
Open my mouth to wine's potent star!
Adieu, both! I shall see the shade you became.

Wednesday, October 21, 2009

Diagnosis Of A Faun

-photo by Lori Grinker

Greetings! It is with great enthusiasm that I announce the arrival of my new piece, Diagnosis of a Faun. This piece is my version of a story ballet with ornate sets and costumes and classical music. It is inspired in part by Afternoon of a Faun, the ballet that caused such a stir at its Paris premier in 1912. Our cast includes a faun and a nymph, two doctors, a forest and an operating room. Working on the lead role of the Faun with Gregg Mozgala has been fascinating. Gregg, an extraordinary actor is transforming into an extraordinary dancer. Our daily body work addresses the enormous intelligence his body has accrued through a lifetime negotiating cerebral palsy. Spinning the choreographic challenges of balance and partnering into the creation of the unique leading role he will play, is a process we both love.

Our leading ladies, Emily Pope-Blackman and Lucie Baker are enjoying some challenges as well, as they strut from toe shoes to high heels, to bare feet, from text and acting. Their choreography tests all the body intelligence they have accrued through their lifetime of professional dance training. I am also pleased to announce the involvement of Dr. Don Kollisch, a Family Physician who will partner dancer Lucie Baker in a classical pas de deux. We are both thrilled to explore his expertise and... My fabulous production team includes Rob Eggers (Designer), Leon Rothenberg (Sound Designer), Tony Giovannetti (Lighting Designer) and Liz Filbrun (Project Manager). How lucky I am, to have been commissioned by VSA Arts and to be invited by them to the Kennedy Center for the Performing Arts in June, 2010. Additionally, I was generously given a New York season by LaMamma, ETC, and received a Guggenheim Fellowship from which I can make a documentary of my process working with Gregg (more on this in the 2010 newsletter). We hope to see you at the performance and the Gala Reception on December 5th.