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Tony Culver - Avant gardiste extraordinaire


      These images are PAGES AS ART OBJECTS containing TEXT IMAGES (images created with the text of an Mss).  The Mss is MACBETH - THE FLIP SIDE which is a comedy rewrite of Macbeth.  Its underlying dynamic was drawn from Jazz - to whit 'improvisations on a score'.  The 'score' in question being the original Macbeth.  The 'production' (new kind of) broke with a tradition for script dramatisation dating back some 2,600 years - THE SCRIPT IN PERFORMANCE.  
     This was introduced by Aeschelus and Euripides in about 600 B.C..  Subsequently copied by Shakespeare and all other playwrights and script writers for Film and T.V..  ONE concept, several MILLION writers and theatre/film/T.V. personnel, SEVERAL centuries, MILLIONS of productions.    Should one clap?    
     Certainly, three entertainment sectors have arisen on this Greek concept, lots of money has been made from it.  But, just possibly, the PRODUCTION FORM might have DIVERSIFIED down the past 2,600 years into DIFFERENT ROOT FORMS.     Composers and musicians do not endlessly rework concepts introduced 2,600 years ago, music has diversified into many root forms and variations thereon. 
      Scripts in EXHIBITION are one such diversification of form for script production.  More details on it accompany the Text Images.  It is also a production form that can be used as a PUBLICATION form for Mss - poetry and short stories could be published in this manner.   As a publication form all any writer needs to do is print up ONE copy (A3) and then EXHIBIT that copy sequentially.  The public again walking through reading and viewing.  Whatr cost ONE copy of a Mss?  Theoretically, this production and publication form could enable even people living on the street to either publish or produce their Mss in an exhibition space
       Hypothetically, the development could, linked to Book-Decos, eventually, blossom out to become an international cultural sector - writers as exhibiting artists.  It has the capacity to increase script production in large theatres by the power of 12 every year (12 scripts in exhibition in F.O.H galleries through which the public walks viewing and reading).  Thus could provide the literary fraternity and collaborating artists, with lots of new opportunities for expression and earning (gate fee charged to enter, with a percentage going to the writers). 
       Were such a set of phenomena to be put in place in all large theatres, nationally and internationally, and a mere 5,000 people attend any one exhibition, paying a modest fee of £2.  The theatre could make £10,000 EXTRA every month, or £120,000 each year.  Extrapolated round the U.K. alone, that would be in excess of £2,000,000 each year extra income.  The identity of theatre, per se, would be altered, offering TWO types of production instead of the usual ONE (performance).  Theatres would also be open during the day for exhibition attendance and the public, in the evenings could make a much longer 'evening out' than is usual.  
      But, at this time, this is not likely to happen.   The theatre system doesn't want to diversify into exhibition of scripts.  Though, if the theatres did, put on exhibitions of scripts F.O.H. as well as performed scripts on stage, they would be offering the public TWO CONTRASTING FORMS OF PRODUCTION for the price, almost, of one.  Obviously, since it costs 99% less to produce a script in exhibition,  the gate fee  can be minimal to offset production costs.  Thereby offer the public a very inexpensive addition to the performance production.
      The development also adds something new to the concept of the FIXED IMAGE (painting) by adding TEXT to it.  99% of painted images are image alone.   With images in this new form, there is text within the image, and, the text is the image.

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