Trees in Berlin

thursday, october 20
Upstanding twigs

When you have glass then you have a clear view of modified nature. You then become separated from nature and more cognizant of what is around you, of it, of what it is and how it is distorted is what you are lesserly aware of of necessity. And of where you are.

It’s a play about control, and autonomy and manipulation. The manifestation of identity.
You know how they take up spheres and these spheres of identity, of identities, machinate upon each other in such this tragedious way. It’s a slow rolling to resolution, and the vital part of the ball is Desdemona.
I love her vitality and I love her love for Othello. That is what I know, Desedemona’s love for Othello is the biggest and the least consequential part of the play. The inconsequentialness of her the psychic or moral weight of all the motivations and justifications of the play.
I think in 'Othello', Shakespeare has gifted us with a playing field of an equality/array of philosophies.
And the human heart of the play is Desdemona. Her heart is what she gives and what we take for granted. It is a role of magnificent relation; it is so reactive and chemical and the energy is what I want to know. I want to know how it is that she wants.

The obfuscation and machination of Iago – the conversation between men – is the crafted significance of the play; the figure of Desdemona has a truth in it to an extent more than linguistics and yet this truth and this figure of truth is vulnerable to the susceptibilities of Othello’s self doubt.
The play is about Othello – everything in it touches upon him, takes its’ course from his psychology.

We have the same unknowing determination. I want to learn the ways that I don’t recognize