A Quote by Jorge Luis Borges
Translations are a partial and precious documentation of the changes the text suffers.
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Of course we may have any number of translations of a given text - the more the better, really.
Often, the idea that there can be a wide range of translations of one text doesn't occur to people - or that a translation could be bad, very bad, and unfaithful to the original.
One of the reasons why there are so many versions of Chekhov is that translations date in a way that the original doesn't; translations seem to be of their time.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Incorrect documentation is often worse than no documentation.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
People have entire relationships via text message now, but I am not partial to texting. I need context, nuance and the warmth and tone that can only come from a human voice.
Even though it is better if the system can be used without documentation, it may be necessary to provide help and documentation. Any such information should be easy to search, focused on the user's task, list concrete steps to be carried out, and not be too large.
From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.
Refined, intense, wise, stiring, immediate, subtile, all the charmed qualities gather in Dropping the Bow. These translations are precious jewels. Like the erotic moods they investigate, these versions shimmer and startle with a palpable desire to be heard, and a mystical sense of impermanence. This is a transmission of a vital, extraordinary tradition.
I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.
Man is always partial and is quite right to be. Even impartiality is partial.
Altruism became the sole legitimate motivation for giving a kidney. And it is a partial - I say a partial failure.
He who suffers in patience, surfers less and saves his soul. He who suffers impatiently, suffers more and loses his soul.
I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
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