Page 101 [101]
OCR
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 expression in loquacity, in the repetition of names, in the manufacture of neologisms. 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 traditions“ 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 Anthropodules aux Anthropopandules : “Les Anthropodules chérissent alternativement le A et le B.”*° [FIRST CANTOR: Grammatical order rules in Angouléme, in Helsinki, in Kinshasa; Mediatic order in Pont-a-Mousson, Bernay-en-Brie, Ponta-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: Perspectives Critiques, studies selected by Nathalie Koble and Mireille Séguy, Littérature special edition (December 2008), 148. 50 Novarina: Ibid., 36-37. + 99 +
