1DOG’S EYE VIEW(1984)

2NUMBER MINUS ONE(1984) 

3RED HOUSE(1984)


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1. DOG’S EYE VIEW
1984-LA MAMA
TEXT, DIRECTION, DESIGN, FILM-
JOHN JESURUN
MUSIC- FRED FRITH
LIGHTING- JEFF NASH.CAST-VALERIE CHARLES, ROBYN HATCHER, HELENA WHITE, LEO GARCIA, JOHN HAGAN,
ANNIE LABOIS, SANGHI WAGNER,
STEVE BUSCEMI, RUTH GRAY.
PHOTO:KIRK WINSLOW

(TEXT EXCERPT)
               *
(GROUP AROUND TABLE)
MARY: Salt please.
COVARRUBIAS: Headache?
WILLIAM: No, water in my ears.
LAFARGE:  What is that cat eating?
CARLOTTA: A bird.
VERA: Oh.
COVARRUBIAS: Does it have to rip it apart so violently?
MRS. BLAKE: It looks like it’s still alive.
WILLIAM: Stop that.
COVARRUBIAS: Stop this minute.
CARLOTTA: Look at it shredding it with such relish.
MARY:  Like a wild animal.
WILLIAM : Cats are wild.
COVARRUBIAS: Like a beast. Its horrifying bloodlust.
LAFARGE: Clawing and clawing and shredding.
MRS. COLFAX: Ripping and gorging and disgorging.
WILLIAM: Dismumbling and shredding.
MRS: BLAKE: Look at that, see the wild look in its eyes.
COVARRUBIAS: Seething.
 MRS. COLFAX: Burning with wild sensations.
VERA: It’s enjoying itself as if it can’t help itself.
COVARRUBIAS: It’s on fire.
CARLOTTA: It’s ruthless.
MRS. BLAKE: Devouring.
MARY: Feathers and all. 
COVARRUBIAS: Insatiable.
LAFARGE: It hardly stops to breathe.
MRS. BLAKE: Out of control,livid,relentless.
COVARRUBIAS:  Incontrovertible.
MARY: Intravenous.
VERA:  Evil.
LAFARGE: Diablo.
COVARRUBIAS: Biorhythmic. Polyrhythmic.
MRS. BLAKE: Look at the rhythm of its gashing.
COVARRUBIAS:  Polyrhythmic.
MARY: A wolf.
LAFARGE:  Grizzly.
VERA: Mongoose.
MRS BLAKE: Boa constrictor.
CARLOTTA: Oh, my god.
MARY: Look away.
VERA: Look away.
COVARRUBIAS: Look away, Dixieland.
LAFARGE: Cover my eyes.
MRS. COLFAX: Someone.
MARY: I can’t, I’m mesmerized.
MRS. COLFAX:  By the wickedness of its force.
VERA: Swing low, sweet chariot.
MRS COLFAX: Will it ever end?
WILLIAM: Cover my eyes, cover them.
MARY: Cover them.
WILLIAM:  Is it over?
LAFARGE:  Can you hear it chewing anymore?
MRS. COLFAX: The swallowing.
VERA:  Wolfing down the last remnants of it away.
WILLIAM:  Away, down the hatch.
COVARRUBIAS:   It’s purring, on fire.
WILLIAM:  The coals are still burning in its eyes.
MARY:  It has only one eye.
LAFARGE:  It lost it in a fight.
WILLIAM:  The other one is cataractoid.
MRS. COLFAX: Can’t bear it. The cornucopia of violence is mesmerizing…
COVARRUBIAS: ...me. Fascinating.
MRS. BLAKE: Infatuated.
COVARRUBIAS:  Infatuated with the flesh and feather slashing.
MARY:  Is it gone?
MRS. COLFAX: Yes.
CARLOTTA:  Entirely, the bird is gone.
WILLIAM:  Entirely.
MRS. BLAKE:  Entirely gone, disappeared.
MRS.COLFAX: It’s gone, every bit. It’s gone as if it never existed.
LAFARGE: The poor bird.
WILLIAM:  Gone forever, it’ll never be here again.
MARY:  It was destroyed.
MRS: COLFAX: Utterly destroyed by that cat.
WILLIAM:  Murder machine.
CARLOTTA:  Was it hungry or just in it for the fun of it?
LAFARGE: The fun of it.
MRS. BLAKE: What a sour sight that was.
COVARRUBIAS: The eyewash, please. I must put salt in my eyes to extract the horrific sensation of watching that.
MRS. COLFAX:  Horrific sensation.
MARY:  I must put salt in my eyes.
COVARRUBIAS: Pass the salt.
LAFARGE:  Pass the salt.
(CUT)
 2.NUMBER MINUS ONE- 1984


 Text, direction, design, and film by John Jesurun
Part 1: The Performing Garage,   New York, NY   1984
LaMama, New York, NY   1984
Parts 1 & 2: The Performing Garage,   New York, NY   1984
PARTS 1+2. Diskurs '86, (GERMAN VERSION) Angewandte Theaterwissenschaft, Justus Liebig Universitaet, Giessen, Germany   1986
TEXT,DIRECTION, DESIGN-JOHN JESURUN-LIGHTING-JEFF NASH
CAST: LARRY TIGHE,SANGHI WAGNER,ANNA KÖHLER, LARRY MAXWELL,JOHN HAGAN, ANNIE LABOIS,VALERIE CHARLES,
FRANK MAYA
 (TEXT EXCERPT)                    

KRYLENKO……systems in Europe be destroyed or that the deployment in...
BRIAN : Where is George’s secretary ?
SANDY : He quit. He and his boyfriend are living together.
BRIAN : Doing what ?
SANDY : Going about their business.
BRIAN : You mean their business.
SANDY : And making a lot of money at it. Anyway they were just going about their business if you know what I mean and they were caught and arrested for selling drugs which was their business and sent to jail or the army. So they chose the army but the army didn’t want them so they volunteered to de-detonate bombs. Something no one wants to do so they accepted them because no one wants to do that, de-detonate nuclear bombs and they have to do that for five years and then they get off scot-free.
BRIAN : Scot-free ? No G.I. bill ?
SANDY : No G.I. bill. But who wants it, what would they use it for ?
BRIAN : Don’t they want to go to college ?
SANDY : What do they want to learn ?
BRIAN : Computer concentrics.
SANDY : No, no way. So they did that for five years and got-off scot-free and they decided they wanted to go to college so they applied for the G.I. bill and they accepted them out of pity or something. They told them that they really respected them for going straight and being serious and doing such a good job and de-detonating nuclear bombs without every missing a trick and so they gave it to them and they’re studying.
BRIAN : And what will they be studying ?
SANDY : They’ll be studying de-contamination of biblical texts. They take and clean up all the inferences and references in religious literature throughout the ages so it doesn’t give anyone any bad ideas. 

BRIAN : That they shouldn’t have.
SANDY : So they did that for a few years and got pretty tired of it and then they realized that they had gotten cancer slowly from de-detonating those warheads for five years. And they just got sicker and sicker and the army wouldn’t pay for it. They owed rent on the G.I. bill for that so they just kept wasting and wasting away and then the army finally decided to give them the health care because they felt sorry for them. By then they were too far gone they lasted two more years -they said they were having a race to the end but no one wanted to win it and leave the other first. Finally one day someone came in the hospital and took them out. By then they were very, very tiny and couldn’t walk but they just unplugged them one night and snuck them out and they never saw them again. They think some friends came in there. That they put them up to it because they didn’t want to die in that hospital together or apart. So they disappeared and I hope they died together. I think their friends know where they are but they just aren’t telling. I wouldn’t either. They must be buried somewhere. Said he’s going to show me an urn with their ashes in it and wouldn’t you know it was them in that urn their ashes together I could just tell. They said it could have been anyone but it was theirs so I promised not to tell because they could get in trouble. Then we scattered all the ashes all over the place and some got in our eyes and mouths but it was alright.
BRIAN : Sort of salty tasting?
SANDY : But it was OK.
LIU : Nor has there been a positive reaction to the soviet proposal that all nuclear weapon states declare a …
KRYLENKO : Bulgarian support of the Soviet proposal for the conclusion of a treaty on the prohibition of the use of force in outer space and from space against threat.
LUMIERE : Aligned or non-aligned.
KRYLENKO : And your fucking wall.
MR. D : And your fucking railroads.
LUMIERE : We built the railroads, those fucking railroads. Coast to coast, sea to shining sea, pole to pole.
LIU : so much anger.
KRYLENKO : Pole to pole.

3.RED HOUSE-1984-LA MAMA
TEXT, DIRECTION, DESIGN,VIDEO-

JOHN JESURUN-

CAST:VALERIE CHARLES, LARRY TIGHE, STEVE BUSCEMI,ROBYN HATCHER, BLACK-EYED SUSAN.

MUSIC:STEPHEN ANTONELLI, LIGHTING-JEFF NASH,TECHNICAL DIRECTOR-CHRIS CLEMENTS

PHOTOS: PAULA COURT 

Sound:, Michael Connelly
Production Stage Manager: Brad W. Phillips

Institute of Contemporary Art,   London, England   1985
Printemps du Theatre, American Center,   Paris, France   1985
Italian version-Inter City Festival,   Florence, Italy   1988
German version
Diskurs '88, Angewandte Theaterwissenschaft, Justus Liebig Universitaet    Giessen, West Germany   1988
Hessicher Thleatertage, Wiesbaden Stadtheater,   Wiesbaden, West Germany   1988
Goethe Theater,   Offenbach, West Germany   1988

PRATER THEATER,BERLIN,2005(GERMAN VERSION 

directed by John Jesurun)
                            (TEXT EXCERPT)
BILLIE: I’m not the cook, I’m the waitress. .
MRS. KELLY: I still don’t want it.
BILLIE: Please take my advice and shut up and eat that.
MRS. KELLY: Yes, thank you.
SHEVAUGHN: Did the dumb one in your group die?
MRS. KELLY: The smart one died.
B ILLIE: Too bad.
SHEVAUGHN: Just eat that,we’ve got another table coming soon.
BILLIE: Don’t let her bother you, she’s from another faction and she doesn’t like  that kind of people but that’s alright because she’s from another place,understand? So that’s her excuse.
MITCH: Yeah, well she’s a pain.
BILLIE: She’s from Hibbling Minnesota.
SHEVAUGHN: I thought you  were dead. I remember when you played at the high school.
BILLE: Really, I thought you were dead.
MRS. KELLY: No, I survived to build a huge house that fell off a cliff into the sea one day. Earthquake.
MITCH: Earthquake.
MRS. KELLY: On jittery land.
BILLIE: Kind of like Hibbling.
MRS. KELLY:Oh no, the land in Hibbling never jittered. It just  baked and froze and baked and froze and baked and froze.
SHEVAUGHN: I know what you mean.
MITCH: No you don’t.
SHEVAUGHN: Yes, I do, I lived there too.
BILLIE: Where’s that drummer, what’s his name?
MITCH: Oh, we threw him  out.
DEVON:That drummer kicked ass and you know it!
MITCH: Well, we kicked his ass  and now he knows it.
DEVON: And that’s probably  why you kicked his ass because he kicked ass.
BILLIE: Oh, big deal.
MITCH: More coffee here.
SHEVAUGHN: More coffee.
BILLIE:Ask the waitress.
MRS. KELLY: I thought you were the waitress.
BILLIE: I’m not the cook. I’m the waitress.
MITCH: That’s funny, you don’t look like a waitress.
SHEVAUGHN: You’ve been in here all night so get up and have some coffee at home.
DEVON: Free refills, right?
SHEVAUGHN: That drummer kicked ass and you know it.
MRS: KELLY: Fill her up.
SHEVAUGHN:That drummer kicked ass and you know it!
BILLIE: From Hibbling too.
SHEVAUGHN: You know it.
DEVON: Kicked ass and you know it!
MRS. KELLY: I’ll kick your ass and you’ll know it.
DEVON: How would you like all this coffee spilled on you?
SHEVAUGHN: Do you want to wreck the carpet?
MITCH: There’s no carpet in here.
BILLIE: You’re such a wonderful person but you got problems.
SHEVAUGHN: That your truck out there?
MITCH: So what if it is?
BILLIE: I thought you guys travelled on a bus.
MRS. KELLY: We do.
SHEVAUGHN: So where is it?
MITCH : We had to leave it in Minneapolis for repairs.
BILLIE: Oh, sure.
SHEVAUGHN: You’re probably on the skids.
MRS.KELLY: The only one who’s on the skids is the one who has to stay behind in this dump.
DEVON: That drummer kicked ass and you know it!
BILLIE: Where’s the bus?
MRS. KELLY: Ain’t no bus.
SHEVAUGHN: That’s what I thought.
BILLIE: On the skids.
DEVON: All skidded up.
SHEVAUGHN: Right.
MRS. KELLY: Wrong.