, Neville: I take a book and read half a page of anything. I read poetry, I read Shakespeare here in Shaftesbury Avenue. I need not speak. Louis: I have become immensely respectable. I hang my coat here, and place my stick there. Percival died, Rhoda left me. I have a little mistress -a vulgar little actress who will never speak English correctly! Jenni: Here I stand in the Tube station. I am in the heart of life. But how solitary, how shrunk, how aged! Percival died. Millions have died! I still move. I still live. But who will come if I signal? Chorus: Jenni is no longer young. Chorus: She is no longer part of the procession. Chorus: But she still powders her face and reddens her lips! Rhoda: Oh life, how I have dreaded you! Oh human beings, how I have
, We have triumphed"; "No, we have failed!" Chorus: "Love, love!" "My wasted life!" they say. Chorus: Now they must go. Chorus: Now the waves will spread between them. Chorus: They will float for a moment -and then they will sink. Epilogue (And in me too the wave rises) Louis: Life is pleasant. Life is good. Chorus: Tuesday follows Monday. Chorus: We eat and drink. Chorus: Toast and butter; coffee and bacon! Susan: We marry and domesticate. Chorus: With shirts, socks, and the broken dreams of our unborn selves. Chorus: With goodnights and see you tomorrows; and unfinished sentences! Rhoda (depressed): The universal determination to go? on? living! Percival (proudly and stupidly): I am Percival, Chorus: As they talk, time comes back. Chorus: Marriage, death, travel, friendship. Chorus: It was different once? Chorus: They could have been anything! Chorus: But change is no longer possible, now
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, Jinny: Faces recur, faces and faces. Chorus: We float. We are swept on by the torrent of things. Chorus: We rise, we break
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, NOTES 1. Critics usually consider this last italicized sentence to be the tenth and last interlude, p.166, 1931.
, Opening sentences, supposedly uttered by infants walking through the garden] 'I see a crimson tassel
, Islands of light are swimming on the grass
, For a definition of "interlingual" and "intersemiotic" translation see Jakobson (1959) or the "trans-semiotic adaptation" section further on
, to construe the significance or intention of : to interpret a smile as an invitation. 3. to convey or represent the spirit or meaning of (a poem, a song, etc.) in performance. 4. (intr.) to act as an interpreter; translate orally, 1979.
, Senses 1 and 2 clearly highlight the cognitive dimension of interpretation ("explain, Breaking Virginia's Waves, 1931.
, while 3 and 4 respectively underscore the performative and trans-semiotic dimensions of the interpretive process. The claim I make here and elsewhere (Lapaire 2019), is that all the three main senses are -cognitive, performative, translational -are fundamentally related and interdependent. The ability to construe, act out and transpose is part of our common human, 2019.
, note that "viewing intersemiotic translation as resemiotisation" raises major issues, such as "how can shifts of meaning be conceptualised across semiotic resources which are fundamentally different in nature?" and "what meanings are retained and changed as a result of resemiotisation, 2016.
, of Bethany, the town of Mary and her sister Martha (?) Therefore his sisters sent unto him, saying, Lord, behold, he whom thou lovest is sick (?) Then when Jesus came, he found that he had lain in the grave four days already (?) Then when Mary was come where Jesus was, and saw him, she fell down at his feet, saying unto him, Lord, if thou hadst been here, my brother had not died. When Jesus therefore saw her weeping, and the Jews also weeping which came with her, he groaned in the spirit, and was troubled. And said, Where have ye laid him? (?) It was a cave, and a stone lay upon it (?) Then they took away the stone from the place where the dead was laid. And Jesus lifted up his eyes, and said, Father, I thank thee that thou hast heard me (?) And when he thus had spoken, he cried with a loud voice, Lazarus, come forth. And he that was dead came forth, bound hand and foot with graveclothes: and his face was bound about with a napkin, Lazarus, vol.11, pp.1-44, 1611.
, Le corps dans la langue: imprimer, exprimer, dérouler / Der Leib in der Sprache -einprägen, ausdrücken, entfalten, Langues vivantes en vie: rejeux vocaux et gestuels de l'expérience, 2013.
, Poetic-kinetic intervals" and "Motion Capture, 2015.
, The title contains an allusion to Lars Von Trier's film Breaking the Waves, with Emily Watson (Bess) and Stellan Skarsgard, 1996.
, The workshops were held at Maison des Arts, Pessac, on the main UBM campus site
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, How physical displays may be given of affect, inner states, and the impact of own's own words upon oneself
, Master in Drama and Performance Studies : Julie Cabaret, Sarah Caillaud, Célestine Fisse, Alexandre Gauzentes. Breaking Virginia's Waves, 1931.
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