DIAGONAL MAN: THEORY AND PRAXIS
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"Diagonals are created from the leaning power of hurt verticals," says Peter Schumann, founder and director of Bread and Puppet Theater, about their new play, Diagonal Man: Theory and Praxis, which they will present at ArtsRiot, Tuesday, April 16th.
We inhabitants of Western modernity are no strangers to verticality, from the architecture of our cities, to the "ladder(s) of success" we're expected to scale, to the incessant wakefulness required of us, postponing the horizontal pleasures of sleep. Bread and Puppet's Diagonal Man presents the diagonal as a potent and promising opposition to the dominating verticality of our culture. Puppeteers long ago realized that the most aesthetically radical movements for puppets are diagonals, because these movements cannot be sustained by human actors or dancers for more than a moment. (Gymnasts upsidedown themselves with ease, but diagonal positions remain inaccessible without the use of puppet.)
Diagonal Man brings all the bewildering, beguiling, and downright funny possibilities and implications of diagonality to life with song, dance, magic, mechanism, and stunning cardboard and paper maché puppets painted in Peter Schumann's exuberant, slapdash style.