An adaptation of Samuel Beckett and Jasper Johns’s Foirades/Fizzles by the Piehole theater group
155 Freeman Street, Brooklyn, NY
Monday, June 4
Doors 7:30 p.m., performance 8:00 p.m.
$7 suggested donation
In 1973 and 1974, Samuel Beckett translated a set of his prose poems, Foirades, into English as Fizzles. (The French “diarrhea” or “shit” becomes a slightly more ambiguous English.) Foirades/Fizzles entered into limited circulation as an elegant collaboration with Jasper Johns, published by Petersburg Press; in 1976, Grove Press produced an expanded run. Johns’s etchings emphasize his calligraphic and repetitive style. Of one fizzle, Marjorie Perloff has commented that the “phrasing is that of a telegram.”
On June 4, Triple Canopy will host an hour-long interpretation of Beckett and Johns’s artist book by the New York–based Piehole theater group. Incorporating theater, dance, electroacoustic sound, and live and recorded video projection, Piehole’s The Fizzles promises a compellingly imperfect meeting of media.
Triple Canopy is an online magazine, workspace, and platform for editorial and curatorial activities. Working collaboratively with writers, artists, and researchers, Triple Canopy facilitates projects that engage the Internet's specific characteristics as a public forum and as a medium, one with its own evolving practices of reading and viewing, economies of attention, and modes of interaction. In doing so, Triple Canopy is charting an expanded field of publication, drawing on the history of print culture while acting as a hub for the exploration of emerging forms and the public spaces constituted around them. Triple Canopy is a nonprofit 501(c)3 organization.
Triple Canopy gratefully acknowledges The Andy Warhol Foundation for the Visual Arts, The Brown Foundation, Inc. of Houston, CEC ArtsLink, Chamber Music America, The Doris Duke Charitable Foundation, Experimental TV Center, Foundation for Contemporary Arts, Furthermore: A program of the J. M. Kaplan Fund, National Endowment for the Arts, New York City Department of Cultural Affairs, New York Council for the Humanities, New York State Council on the Arts, Office for Contemporary Art Norway, Royal Norwegian Consulate General, and the Orphiflamme Foundation, as well as the many individuals and in-kind contributors who have generously given their support.