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VALERE NOVARINA AND JANOS PILINSZKY OR THE POETIC THEATER OF UNSELFING RITUAL

In Novarina’s oeuvre, and in the volume Devant la Parole [Ahead Speech],
in which we find “Fragile Shelter,” as well, the figure of the French actor is a
constant point of reference, but the statements and dialogues attributed to
him are in every instance imaginary. From the quotation we can also see that
the theater is the supper, as well as the location of the Last Supper, its fragile
shelter. And thus, in every piece (by Novarina) and every performance there
is a supper scene.

The other ritual, which defines the fundamental dramaturgy, is the three¬
fold unity of statement-denial-new statement, which we have already analyzed
from a different viewpoint in preceding chapters. In this chapter, however,
the reason we must repeat its mention is that Novarina completes the bodily
and physical metaphor of the theater as (the Lord’s) supper by denying it in
the same essay:

The kenotic theater repeats the stage’s nonexistence on the stage; this is the
theater’s first formula, the simplest of its proclaimed chemistry, its negative
cornerstone; the actor enters and speaks thus: “Behold, this here does not exist.”
Anatopical, uchronic, analogical, antistrophic, anamorphic, diaphonic, perspectral,
anaphore-like and diaphanous, antiandric, transthanatal, antianthropic and
primarily antianthropopodularic, aphonic and superacoustic and anacosmic
and supersexualized, the theater progresses by means of counterpoints,
countershadowing the counterparts and duplicating them with words bursting
forth in logoedres;” they spread out the inside-out and irreversible world before us:
behold, now space sacrifices itself. Behold, space hands over the persona-containing
person. Such is the theatrical antimatter; the nowhere visibly appears in it: and in
the midst of all this, there is man — and the universe. The theater is an explicitly
physical place where the body, arriving, speaks thus: nothing is more impossible for
me than the body. The actor arrives to recreate the complete geometry of the human
body."

Novarinas logaédre-concept and the metaphor, express the self-contradiction
of the words incarnation:

Logaédres! Logaédres!

The action of words commutes in round trips. The sentence proceeds forward like
time, and, like its opposite, it inverts its capabilities, becomes a retroactive music
that sounds and acts in the memory. Every word influences other words retroactively:

it affects every word since the beginning of the book, but also every word already

Both logaédres and logoédres are Novarina’s neologisms, hapax legomena that apply the no¬
tion of form to words (logos).
56 Ibid., 157-158.

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