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GUILLERMINA

She was working with Jorge Torres just before he died. He'd

been employed by Violeta Parra at "La Carpo de la Reino."

He'd been stealing from her for years, making secret recordings

of her rehearsals. He waited almost 30 years before putting

her last songs on the market. Age, of course, increased their value.

GUILLERMINA

Her mother bought her the best lawyer money can buy.

We couldn't make anything stick.

We did find a cassette tape, hidden behind the canvas

of the painting she had with her.

But there weren't songs on the tape. Instead there was

considerable babbling by Jorge Torres, claiming to have worked

for the CIA during his employment by Violeta Parra,

claiming to have been the inside man who was responsible

for her assassination.

I thought this was an incredible discovery - but the chief

disagreed. He gave no credence to Torres' claim.

The cassette tape was quickly destroyed.

Astrid Ensslin writes that "the main hyper-dramatic effect is the transfer of choice to the viewer" (81). Introduction of interactive links that are not possible in traditional dramas.

Deemer used the internet as a sound-board with potential audiences before staging the play.

Is the page a stage?

Charles Deemer - hyperdrama

Activity and Passivity

Deemer writes, "in hyperdrama, the traditional linear narrative line explodes into branches, multiplying the action on a 'stage' into simultaneous scenes occurring throughout a performance space. The bolted chairs of the audience are uprooted to give the audience mobility, an opportunity to follow different branches of the narrative line as they unfold into different, often distant, areas of this expanded new "stage."

In his essay The New Hyperdrama, Deemer writes:

WHAT IS HYPERTEXT? by Charles Deemer (1994)

Deemer was discontented with what he called Single Vision theatre and the traditional passive individual in the audience.

Reactions to this play?

What is it about?

since in hyperdrama we are never off stage, and each audience member would choose whether or not to stay in the living room or to follow the action elsewhere whenever that alternative presented itself

many scenes were happening at once? How is a

non-linear script read within the confining format of

textual pages arranged in numerical order?

Without knowing it (I had never heard the term

before), I was having my first experience with "hypertext."

He also moves us away from center stage blurring on-stage with off-stage.

In Livingroom II Franciso says: 1200

"This is the charm of what we have here: Eduardo walked right into it. He brazenly came to me with the ideaof committing bodily harm, which naturally I did not plan to accept without resistance. He even suggested a duel. Imagine - a duel! Shows you where the boy's sentiments lie, back in the Age of Chivalry.So I suggested a theatrical that would accomplish what he wanted to accomplish, which was to impress Guillermina.I used his own energy, his own idea, against him.And therein lies the key to a brilliant prank.

His hyperdrama allows the reader to follow different exits and entries of all characters both minor and major = socialist.

Next class:

Read Donna Haraway's Cyborg Manifesto and discuss gender.

I will also post your critical comment to blog question.

16:30 JUAN

"I think we're almost home free . . . the world will learn the truth about Violeta Parra . . ."

How does Violeta Parra come into the play? Why is this hyperdrama called The Last Song of Violeta Parra?

Hypertext is a web of possibilities, a web of

reading experiences. Hypertext is like life itself, full of

choices and consequences, full of forks in the road.

Hypertext is the language of exploration and

discovery - and therefore is the perfect language to become

the mother tongue of the Information Age.

For writers and readers alike, hypertext may well

define what it means to be literate in the 21st century.

CARMEN

I wish all his readers could see him now. All the misguided people who take his word as gospel, who don't go to an opening because he writes that there's nothing there worth seeing. It's appalling how much power art critics have.

ANA (to Luisa)

He has some kind of conspiracy theory about Violeta Parra.

LUISA

Violeta Parra! What on earth does she have to do with

anything?

ANA

My feelings exactly.

EDUARDO

She's the very soul of social justice. She has to do with

everything, always.

political, Chilean

songwriter, artist

and tapestry

maker

committed suicide

1917-1967

Ruth Page and Bronwen Thomas write that "much online discourse is hybrid in nature, blending the written word with near instantaneous communication, giving rise to what Ong (1982) described as secondary orality" (4).

For example, email exchanges or instant messaging = personal expression interwoven with dialogue.

should have known that Ana would never change. After

she was arrested for trying to smuggle a bootlegged tape

of the last songs of Violeta Parra out of the country,

I paid her bail, got her the best lawyer in Santiago, and

returned to Madrid, feeling like this was all I could do

for her now.

EDUARDO

Jorge Torres worked for the CIA. He told Juan and Ana that the CIA murdered Violeta, then set it up to look like suicide. He showed them proof.

In an afternoon, Peter believes his ex-wife Lisa and their son, Andy have been in a car accident and he reproaches himself for not stopping. As Astrid Ensslin notes because this lexia keeps recurring (a loop), "Peter is stuck in a mental cul-de-sac. He is numbed by feelings of guilt, jealousy and inertia. Dream and reality merge, a phenomenon which may be indicative of cyberspacial pyschology" (70). Peter's musings also reflect on his wife's (Naussica's - client of Lolly) new boyfriend, Wert, and Lolly(therapist+ Wert's wife) .

Hyperdrama

After reading The Last Song of Violeta Parra, What might be some characteristics of hyperdrama ?

how does it compare to traditional plays?

Reader as Writer or "Writerly Reading" as Roland Barthes puts it in his short book The Pleasure of the Text (1973).

What do you think about J. Hillis Miller's claims that "we cannot avoid imposing some set of connections, like a phantasmal spiderweb, over events that just happen as they happen" (232) and "reading is always 'a kind of writing or rewriting'" (232).

How might reading hypertext literature compare with oral literary traditions, or speech?

Google Docs or Wiki projects

https://sites.google.com/a/ualberta.ca/cyberliterature210wiki/

Reader as storyteller/maker

According to Alice Bell this lack of immersion

stems from what Aarseth identifies as ergodic literature - "nontrivial" actions required by the reader e.g., typing, clicking the mouse, inserting a CD. The interaction with this technology keeps us at a distance from the fictional world itself - there is always a distance (66-67).

David Miall (2001) argues that in digital literature the "experience of absorption and immersion" so necessary to literary experience is weakened. There is a lack of "affective engagement."

In Narrative as Virtual Reality (2001)

Marie-Laure Ryan writes that "immersion remains a rather elusive experience" (19)- we cannot fully engage in the fictional world, and the reader subsequently is alienated. She uses the term "ontological position" - what does this mean?

Bolter claims that while "it may be possible for a reader to ignore these [reading] circumstances, ... interactive fictions are [usually] calculated to make the reader aware of their links, their technical circumstances" (138).

Landow and Joyce

Landow claims that "the successive lexias one encounters seem to take form as chains of narrative and despite the fact that one shift's setting and narrator, one's choices produce satisfying narrative sets" (229) [...] "one reaches points at which one's initial cognitive dissonance or puzzlement disappears, and one seems satisfied. One has reached - or created - closure!" (230).

Is this true? Reflect on your own experiences reading Joyce's an afternoon or Deemer's hyperdrama.

Landow, on page 230, gives the following poetic description of 19th century, French writer Stendhal, but says it "describes the way a reader encounters the web of Joyce's hypertextual narrative." How is this so?

a fragmented, elliptical, repetitive, yet infinite, or at least indefinite, text, no part of which, however, may be separated from the whole. Whoever pulls a single thread must take the whole cloth, with its holes and lack of edges. To read Stendhal is to read the whole Stendhal, but to read all of Stendhal is impossible, for the very good reason, among others, that the whole of Stendhal has not yet been published or deciphered, or discovered, or even written: I repeat, all the Stendhalian text, because the gaps, the interruptions are not mere absences, a pure non-text: they are a lack, active and perceptible as lack, as non-writing, as non-written text."

Hypertext andrdrama

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