CoL49 (3) "I'm the projector at the planetarium" [PC 62]

[Robin Landseadel]

Skipping over the play for the moment, we encounter Driblette in the  
shower. For some odd reason, I see Orson Welles in this figure. Orson  
Welles was a Kenosha Kid, wouldn't you know:

http://www.youtube.com/watch?v=V14PfDDwxlE

And pretty much was the master of Shakespeare in modern dress—notably  
with a production of Julius Ceasar done in fascist garb back in 1937:

	1937: Orson Welles' famous production at the Mercury Theatre
	drew fervoured comment as the director dressed his
	protagonists in uniforms reminiscent of those common at the
	time in Fascist Italy and Nazi Germany, as well as drawing a
	specific analogy between Caesar and Benito Mussolini.
	Opinions vary on the artistic value of the resulting production:
	some see Welles' mercilessly pared-down script (the running
	time was around 90 minutes without an interval, several
	characters were eliminated, dialogue was moved around and
	borrowed from other plays, and the final two acts were reduced
	to a single scene) as a radical and innovative way of cutting
	away the unnecessary elements of Shakespeare's tale; others
	thought Welles' version was a mangled and lobotomized
	version of Shakespeare's tragedy which lacked the
	psychological depth of the original. Most agreed that the
	production owed more to Welles than it did to Shakespeare.
	However, Welles's innovations have been echoed in many
	subsequent modern productions, which have seen parallels
	between Caesar's fall and the downfalls of various
	governments in the twentieth century. The production was most
	noted for its portrayal of the slaughter of Cinna (Norman Lloyd).
	It is the longest-running Broadway production of this play at 157
	performances. Welles's Julius Caesar opened at the Comedy
	Theater in the fall of 1937, and then was transferred to the
	National Theater on West 41st Street, later renamed the
	Neiderlander Theater. This famous production also toured the
	country in 1938.

http://en.wikipedia.org/wiki/Julius_Caesar_(play)

"The Courier's Tragedy" is a Jacobean Revenge Tragedy in the modern  
dress of Theater of Cruelty.

http://tinyurl.com/qx5hnh

http://mobile.salon.com/opinion/kamiya/2007/01/09/revenge/index1.html

http://www.docudharma.com/diary/13125/torture-and-the-theater-of-cruelty

Obsession with pursuing the mystery of the Tristero managed to  
misdirect me from the the central truth of what Driblette has to say  
here:

	"If I were to dissolve in here," speculated the voice out of the
	drifting steam, "be washed down the drain into the Pacific, what
	you saw tonight would vanish too. You, that part of you so
	concerned, God knows how, with that little world, would also
	vanish. The only residue in fact would be things Wharfinger
	didn't lie about. Perhaps Squamuglia and Faggio, if they ever
	existed. Perhaps the Thurn and Taxis mail system. Stamp
	collectors tell me it did exist. Perhaps the other, also. The
	Adversary. But they would be traces, fossils. Dead, mineral,
	without value or potential.

	"You could fall in love with me, you can talk to my shrink, you
	can hide a tape recorder in my bedroom, see what I talk about
	from wherever I am when I sleep. You want to do that? You can
	put together clues, develop a thesis, or several, about why
	characters reacted to the Trystero possibility the way they did,
	why the assassins came on, why the black costumes. You could
	waste your life that way and never touch the truth. Wharfinger
	supplied words and a yarn. I gave them life. That's it." He fell
	silent. The shower splashed.
	PC, 62