Friday, October 26, 2007

Spalding Gray's Cambodian Monologue

(balding and grey)
His initial intonation held my intention but repetitions began to bore me. His imitation of the Cambodians waving goodbye and phrases he'd repeat in a story were strong examples. But the way he imitated "I'm from South Africaah" was funny.
There were times I wondered why I should care what he thought. Why's he telling me these things? Familiar sensations I'm sure. But after a while I began to transfer more into his telling so that hearing the intimate faster-than-speakable considerations of his mind was like rereading a journal entry, remembering a persona.

Lighting and sound effects were nice spots in the story to shift mood as was him putting on his glasses to read the Cambodian leader's farewell letter.

His telling of the redlight district -though starting with the prospect of it and having some exceptional*images-was devoid of discomforting eroticism. Actual lusty "dirty" feelings do have an inherently private nature so they're awkward when in a situation without outlet. Equivalently awkward is being come on to when not attracted; the want of sex is like a mist in the air, clinging to skin, that one wants to brush away if not enjoying the damp. A girl firing a rotten banana might be an entertaining trick or gross-out; I don't reckon I'd wanna see it. Splat. Eeew, I wouldn't eat that banana but she put it in herself...

*she lathers up and doesn't rinse

Spalding's quest for a perfect moment was an interesting theme. I found in much of his personality I couldn't relate yet it's all the more interesting to live vicariously through him. I don't fret about leaving things around where conveniently stealable (what are robbers stalking me in anticipation?) so I've some curiosity, what does an anxious man do about it? My maxim's "no worries". Things are how they are and lament changes nothing. A sucky situation will be adapted to or a man may die. Even that's not necessarily an evil event; aren't you intrigued by the prospect of existence outside a human body?

It didn't seem that Spalding varied his voice as much as he could. On the flipside, had he varied decibels or such more his intonation may've seemed even closer to uniformity as fewer parts would be far from average. I've heard speakers that start with yelling and seem like they've a lot of range they'll explore then turnout to rely on loudness for emphasis.

No comments: