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repeat

We

d

on't

mind

repeat ing t

hem in

public.

In fact, they

seem to be

enr iched

w

hen they have be

en made public

. But

the 

repetition

is only theatrically

  di f f

e ren t

for the pu

bl ic and then

on ly when

 

the

public

  repeti t ion h

as physical

d imensions

di

fferent from the

d imens i

ons of

ou

r

private

l

ives

The im

ages

that

occur

in

o

ur

pieces

are image

s

o

f

the

sam

e experienc

es

that

as

a  group we

are more or

s

s cont inua

l ly preoccu

pied with .

V 

T

he

structure of the

col le

c tion is alwa

ys

a simple m

atter of exp

ediency:

How

to get fro

m  

this

thing to

 

that

thing

in

a given si

tuat ion and still

keep the

various

images intact

and not distorted

by

the circums

tances.

X

We

are

in a long   tunnel .

It

iso lates us

f

rom other s

ideas . On   e 

in a

w

hile 

we go out.

 

We

  are us

ual ly d isapp

ointed,

or

at b

est br ie f ly p

leased. We

leave

du

ring 

the

first in termi

ssion. The

strangeness

 

is

very dep

ressing. Lik

e 

find

ing a still

rubber

band in

th

e

ki tchen dra

wer of an

empty

house.

We

ge

t 

to our

per f

ormances as

  democra t ic

a l ly

as we

can. We drink

w hi le

we

t

alk, and

  we

talk ourselv

es into doing t

h ings. We

have d

eveloped am

ong us a few

basic

law

s: If you say

 

t

hat

you w

il l

do

 somet

h ing ,

you

are belie

ved; you are

  al lowed to talk

about what you in tend  

to 

do

until

your

intenti

ons are cle

ar to you; w

hen it has

been 

accompl is

hed, what y

ou did is

measured a

gainst wha t

  you said

you

would

 

do; all things

said are ultimate

ly

ONC

E Gr

oup per form

ance of The

Jelloman

by Ma

ry Ashley

publ ic. We  don't

keep

  secrets or

say

thin

gs

tha

t can't

 b

e  repeated.

XI

W

e

t

ry n

o t to make distin

ctions

between

public 

and pr ivate

  events .

*The

istory

 o f

the

ON

CE GROUP

  is

descr i

bed

at

  som

e length by

  Gordon

M

umma in Vo

l.

4,

n u m b e

r  2

of A

RTS N SOCIETY

9