Poet Hedwig Gorski's postmodern Theater

Neo-Verse Drama Booby, Mama!

 Karawane, a journal of experimental performance, published an 8-page excerpt from the poetry for voices script in 2008. Check back to this site for news.

HEDWIG GORSKI SITE

Download the script Booby, Mama! and perform/direct/ produce it.

audio and video will soon be added

Purchase an art archive of the conceptual art process in the first production of  of neo-dada neo-verse play Booby, Mama!  in 1978. The script, letters, memoirs, and photos by Lauren Piperno are compiled for a fascinating archive. Published by Slough Press, 2007.  INTOXICATION:  HEATHCLIFF ON POWELL STREET .

ISBN 1427604754 link to amazon purchase book or ebook pdf

 
The second edition of the book features more Mark Christal photos of John Keller's later failed production of Booby, Mama! in 1980. It came out in 2009 and is available on amazon.com for as little as $ 5. from seller Peredmirka.

Rehearsal of Booby, Mama! at Voltaire's Basement directed by John Keller in 1981-82. Photo by Mark Christal.

The character who plays City in the second production is pictured above.

See more photos of the production on FLICKR

 

Gorski began her artistic career in earnest by falling into the "atmospheric landscape of the town that summoned and intoxicated so many beloved . . . artists of the time toward intense self-actualization." She completed, produced, and directed a one-act play script title ''Booby, Mama!'' that is an inventive form she named "neo-verse drama." The art memoir of the production states that the verse play was based on a conceptual art cut-up form of writing created by William Burroughs. The memoir titled ''Intoxication: Heathcliff on Powell Street'' details the events in 1978 that are described as the birth of performed poetry as an American regional avant-garde joining the activity of the body to the psychic power of utterance and intent.

"The conceptual process . . . seems impossible to pull off. There was no money, and it used 'found' text and 'street' actors . . . filled with existential angst living on the fringes of society." 

This has to be a huge leap of faith. The original production was produced and directed by author Hedwig Gorski with no budget and a found cast based on her conceptual art to manifest a play in the same Burroughs' cut-up method that informed the creation  and writing of the script. The leap of faith proved that metaphysics is still a domain for avant-garde artists.

Gorski never claimed close ties to the Feminist movement, but feminists considered her work to contain powerful statements about the disparity caused by race and gender in the [United States.  The images in her poetry are womanly more so than politically correct according to the feminist dictum of the time, and they reflect a protest against the complacency and inaction of artists and non-conformists, too.