Oldal 101 [101]
VALERE NOVARINA AND JANOS PILINSZKY OR THE POETIC THEATER OF UNSELFING RITUAL
God enters man, the actor, temporarily via the words, and this joy finds ex¬
pression in loquacity, in the repetition of names, in the manufacture of neolo¬
gisms. In The Pool of Names, he listed the nicknames of his native land and also
published the list separately in his La loterie Pierrot [Pierrot’s Lottery], along
with photographs taken of several of his productions (The Imaginary Operetta,
The Unknown Act, The Red Origin, etc.). These lists — litanies — also bear the
elements of French medieval marketplace comedy that are also present in the
comic music of Christian Paccoud, where they provide contrast in the least
profane moments. This ritual draws a great deal on forgotten medieval tradi¬
tions“ but also on circus acrobatics and its breathtaking bravery.
The telling toponyms of The Unknown Act exhaust the complete content of
a dialogic commentary. Two cantors are conversing:
LE CHANTRE 1: L'ordre grammatical règne à Angoulême, à Helsinki, à Kinshasa
; l'ordre médiatique règne à Pont-à-Mousson, Bernay-en-Brie,
Pont-à-Mousson, Samson-le-Fresnay ; l'ordre alphabétique règne
à Barcelone, Brasilia, Babylone, Pont-à-Mousson, Brive, Brême,
Bordeaux, Berne et Besançon.
LE CHANTRE 2: En fin finale, enfin, vinrent les anthropodules, qui rédigèrent
pour la première fois la Loi des Anthropopandules. Loi des An¬
thropodules aux Anthropopandules : “Les Anthropodules ché¬
rissent alternativement le A et le B.”*°
[FIRST CANTOR: Grammatical order rules in Angouléme, in Helsinki, in Kins¬
hasa; Mediatic order in Pont-a-Mousson, Bernay-en-Brie, Pont¬
a-Mousson, Samson-le-Fresnay. Alphabetical order rules in
Barcelona, Brasilia, Babylon, Pont-a-Mousson, Brive, Bremen,
Bordeaux, Bern, and Besancon.
SECOND CANTOR: At the very end came the anthropodules that first drafted the
Law of Anthropopandules. The Law of Anthropodules as applied
to Anthropopandules: “The Anthropodules shall alternately
cherish A and B.”]
These rituals serve the joy of multiplicity and are the expressions of the joy
of multiplication in Novarina’s pieces. Novarina also discovers multiplicity in
the Bible, in the Old and New Testament stories that respond to each other,
© Désoubli, rencontre avec Valére Novarina, in N. Koble (ed.): Moyen-Age contemporain: Per¬
spectives Critiques, studies selected by Nathalie Koble and Mireille Séguy, Littérature special
edition (December 2008), 148.
50 Novarina: Ibid., 36-37.
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