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cento November 2012

As part of the celebration of the third anniversary of the gatherings at Stage Time & Wine, our company was invited to write a word or two or more in the language of choice and to drop it into a basket. Later in the evening, words were drawn from the “well” and read aloud. The slips of paper were then taken to form a collage and a cento. The cento follows:

Words From the Well Form the Cento
By Ruth Giordano

I feel hungry!                flexible             fervent            fantastic

Why me?           shhhhh           Why not?      Not all who wander are lost!

Brilliant
Red
Room

You come once, you come every month                 Promise

There is no acting here,                                     acceptance
don’t say you have to “act” yourself.

No act,                  just be there,           breathing            whispers

Let go,                     you’re there with yourself.

Then we,             as audience,                   embrace who you are.

       Hello Everyone!

laughter            chatter                   brethren              stew

(c) Copyright 2012 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Mark Caltonhill November 2012

MC and HT at RR Nov 2012Stand-up comedian and poet Mark Caltonhill performed a selection of
poems inspired by his dog, Hutian, who also attended Red Room.

Included was his recent work, “If dogs wrote poetry”

If dogs wrote poetry,
no meandering iambic trot,
but galloping dactylic pace,
or else, we’ll do the spondee strut;
No host of golden daffodils,
but oak or elm each forty feet,
or lamppost, hydrant or park seat;
No odes to nightingales,
but rather, eulogies to rubbish dumps,
or as we call them, the long free lunch.

And
If dogs wrote intertextual verse,
we might quote from the boundless imagery of Keats,
but only so to rhyme with treats,
and likewise, Gysinesquely sample
the soulful fugues of Ms. Simone,
religious thoughts of Paul né Saul,
the communism espoused by Marx,
or merits of silent movies versus talkies,
but only so we might make mention
of bone and ball and parks and walkies.

And
If dogs wrote epic songs we would not,
sing of Norway’s Amundsen versus England’s Scott,
but instead, memorialize it as a victory,
of Greenland Husky over Siberian Pony;
If dogs wrote epicurean verse,
please, we beg you, no weasels going pop,
or blackbirds baked into a pie,
but warm, served raw, on tarmac plate;
And lastly,
if dogs are meant to write sonnets on love not hate,
why do you so thoughtlessly castrate?

(c) Copyright 2012 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

October’s Red Room Reflection from Lionel Pirsig, 2012

rrlion1I go to the Red Room to shut the hell up. And I LIKE it. Words wash over me like a cleansing balm. The week’s troubles are melted away by the microscopic waves of sound, running through me on their never-ending quest to be heard. In the Red Room, I feel… homeopathic. Natural. Like, maybe this isn’t the most ‘efficient’ way to learn or hear, but it feels like the most natural. I hope that I will continue to find time in my semi-artificial modern life for the breaths of weird but real fresh air I find here.

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Yu-Cheng. September 2012

Yu-Cheng presented us with his poem, accompanied by a digital recording of Beethoven String Quartet Opus 132 in A minor, the third movement, (performed by Amadeus Quartet)

The poem, titled 丑小鴨 (Ugly Duckling) is based on the story of The Ugly Duckling, by Hans Christian Andersen. The story is of an ugly duckling who, though neglected and teased by other ducks and ducklings, grew to be a beautiful swan. This poem shall be devoted to those people doing their best in everyday life and work, without much immediate return, fame or profit.

p.s. Another interpretation of the entire string quartet, performed by the Orion String Quartet can be found here: http://www.youtube.com/watch?v=TI4xhQVwzSg

丑小鴨

羽毛不是明亮鮮黃,
灰黑絨毛無法躲藏;
搖擺著走路比別的小鴨子慢,
嗓子沙啞你不適合歌唱。
在大家分享點心的美好時光,
丑小鴨在一旁被遺忘;
當大家結伴成三成倆,
丑小鴨只好與自己的影子成雙。

是不是丑小鴨動作不夠快,
腔調有點怪?
是不是不懂得名牌,
流行的玩具沒有買?
對你發現的夜空星光總不理睬,
笑你觀察雲雨和風向是傻呆。
丑小鴨總是不明白,
走到哪都是孤伶伶的小孩。

丑小鴨總緊緊要和大家走在一起,
願意不睡看守在深夜裡,
建立友誼然後珍惜。
你臉上滑下水滴。

嘴巴不是鮮豔橘紅,
烏黑腳掌多麼厚重;
鼓鼓的腮幫比別的小鴨子腫,
輕盈的舞蹈你總不懂。
當大家咿咿呀呀交談很開心,
丑小鴨默默作著笑容。
當大家問你怎麼不同,
丑小鴨疑惑將自己躲進草叢。

是不是丑小鴨沒趣又無聊,
說話不好笑?
是不是想法太老套,
身上的衣服都不新潮?
對你創作的歌曲文章總不看好,
練習與汗水只換得熱諷冷嘲;
丑小鴨從沒有人注意到,
等不到真心關愛的擁抱。

丑小鴨總牢牢記得大家的生日,
在那一天送上卡片賀禮,
願和朋友彼此掛記。
你忍著沉重呼吸。

丑小鴨你不要喪志放棄,
這個世界需要時間懂你。
不屬於池塘小溪,
你屬於山嶺天際。
當你換下絨羽,練壯了雙翼,
將在海角天涯,
聽到一聲輕啼,
結束漫長的孤寂。

丑小鴨你不要停止追尋,
不要責怪世界冰雪冷清。
很長的路要獨行,
很多深夜要清醒。
當你接近繁星,觸碰到天頂,
會看見江河與森林,
為這世界歡迎,
太陽第一絲光明。

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Hsieh. YuCheng, August 2012

This poem praises urban life. Not because of the grandiose mansions, dazzling night life, or the luxurious brands. But the tiny restaurants, school memories, familiar sceneries, friends and family members, that make a city unique to you. This poem is also a literary portrait of the beautiful music: Wien, du Stadt meiner Träume. (Vienna, the City of my Dream) composed by Rudolf Sieczynski; violin by: André Rieu. You may enjoy the music on youtube: http://www.youtube.com/watch?v=QlIns5qZSuU. YuCheng’s poem follows:

家在此城

又在地鐵出口張望,
轆轆飢腸,
需要一些美味滋養。
穿過兩條巷,
是可口餛飩湯,
走過籃球場,
一攤炒麵最香,
經過紀念堂,
蒸包的滋味豈能忘。
怎捨離這城我的家鄉,
每碗每盤教我痴狂。
又在這橋頭車水馬龍,
行色匆匆。
卻瞥見熟悉的天空,
雨過現霓虹,
翠青初芽樹叢,
因夕陽柔映泛紅,
也染了屋宇一棟棟,
像校門口已不秋的楓。
一城不變卻風景萬種,
清晰如昨幻霧矇矓,
帶著入夢。
這城市一磚一瓦,
陪我從孩童到成家,
見母親從少女到花髮,
看市集從荒蕪到繁華。
曾同在小溪捉蝦,
在小公園扮家家,
爭遊樂器卡匣,
夜歸自習室燈下,
說著故事在河畔聲啞,
那一位一位老友阿,
就在西區北園南環與西廈,
各自故事中映著這城的畫。
又在這陣雨午後感覺熟悉,
那年回憶,
曾在這校門與摯友相遇,
也在此別離。
在一條街浪跡,
或徹夜努力。
從襁褓踏著搖擺足跡,
到成長頂天立地。
許多故事在這城銘記,
是房是樓是天色是氣息,
不需言語。
這城裡一條路靜與鬧,
一座園拙與巧,
一片林枯與茂,
都聯繫人生分秒。
在陰暗的街道,
可以點燃露光在樹梢。
景象不總是美好,
可以拿毛刷為它穿著新風貌。
偶見黃葉隨風散飄,
可以拿竹帚隨手清掃。
若這城春雨夏月秋風冬雲後還有缺少,
我會剪片歲月補上空白的一角。

 http://www.facebook.com/Hsieh.YuCheng

Summary by Nate Murray, May 2012

Shakespeare sonnets. Classical poems. Indian ragas. And then there’s the new material: original songs, stories, and comedies. And filmmakers showing us their latest ideas. The Red Room is a place where you can come and enjoy both classical favorites and the newest creative innovations in Taiwan and (due to the number of nationalities represented every month) around the world. All in one open, friendly environment. There is simply no other place like it.

莎士比亞十四行詩、古典詩、印度拉格。接著還有新的元素誕生:原創的歌曲、故事和喜劇、以及製片人們展現了他們最新的作品。紅屋是一個可以讓你來參與且享樂體驗於經典中的古典、前衛創新的創作。每個月都來自於臺灣以及其他多個國家參與者。全部都在一個開放式、親和力的環境裡頭。真的沒有別的地方可以跟它一樣了
(Chinese translation by Edward Chiang)

(c) Copyright 2012 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of  this publication. Thank you.

Mark Caltonhill, May 2012

Mark Caltonhill performed an extract from his poetry/stand-up routine, including the following new sonnet on one downside of aging:

Who will rid me of these meddlesome hairs,
sprouting ungodly from within my ears,
so dark and flagrant while all around greys,
yet hidden from my presbyopic eyes?
“Excuse me, not I, a thousand times no,”
my tantrumic coiffeur won’t snip so low;
“With hirsute auricles I can’t compromise,”
my barb’rous barber refuses to rise;
“The hand’s my domain, I’ll not pass the wrist,”
dogmatic’ly says my manicurist;
“And don’t look at me, I only do skin,”
my dermatologist’s excuse sounds thin.
“I’ll cut those hairs, clip your nails, paint your tan,
and then close your eyes,” smiles the mortician.

(c) Copyright 2012 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

February Red Room 2012, Ruth Giordano

A record breaking crowd. So many new faces and regulars returning. The room was humming. The word is out: Red Room is the place to be on the third Saturday of every month. A little bit of stage time & a little bit of wine. And last month, a special guest speaker:

Charles Shuttleworth, Explorer, Soldier, Safari Guide, Zoologist, Poet, Author of numerous books on the natural wonders of SE Asia, Taiwan representative of the International Primate Protection League.

Dedicated volunteers make every Red Room happen by setting out rugs and chairs and candles, chopping and cooking vegetables for the communal stew, preparing the fragrant chai, greeting our guests and pouring the wine. The spirit of acceptance keeps people coming back.

by Ruth Giordano
Photo courtesy of Terrance Shih

(c) Copyright 2012 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of  this publication. Thank you.

Mark van Tongeren, December 17, 2011

I have nothing to say, and I am saying it.
John Cage

This is one of many famous aphorisms of John Cage the composer, whom many of you know, I guess. I liked what Ping said in his introduction about listening, a theme that I am deeply involved with personally. My presentation here comes just days before the submission of my PhD at Leiden University, that is, after having a great deal of things to say, instead of nothing. A tiny part of many thoughts and ideas that I soaked up and produced now covers some 270 pages of text, which will bear the title Thresholds of Audibility. It as an artistic research at the Academy of Creative and Performing Arts of Leiden University and a live performance will form an integral part of the PhD, together with the text. And despite all those words I feel a great deal of kinship with Cage’s approach to silence and listening. Half an hour before Red Room I tried to reduce those many pages to some key phrases, which I will now read to you. (I interspersed every phrase with different forms of vocal improvisations rendered here as […].)

I really like to think of a human being as something that exists on a threshold.
[…]
My words, thinking, exist on a threshold with your words, thinking, and everyone else’s.
[…]
It is never just ‘me’ talking, thinking … something talks and sings with me (and with you too).
[…]
Every word is an empty gesture, a grasping of reality, a way out of nothingness.
[…]
Behind our words is fantastic realm where ‘everything’ is possible and yet ‘nothing’ exists.
Bold, empty, glorious numbers.
[…]
This is the polyphony of the body.

I would like to conclude with a poem that ‘visited me’ when I was flying above the South-China Sea, in november 2010. I returned from East-Jeruzalem where I had performed with an amazing, young Sufi-reciter, a  muezzin, Firaz Gazzaz. It was a very impressive project and journey to a place that is laden with dualities. I have dedicated the poem to my great teacher, the German artist Michael Vetter, whom Ping also heard here in Taipei and whom I hope can return to Taiwan to share his creative genius.

Flying through the sky,
I am everwyhere.
Yet no man can fly.

Humanity gives me wings.
Am I a whole.
Am I a part.

Humanity surrounds this being
that freely roams the sky.

It is the nothing
within,
the almighty, beautiful silence
and silence resounding
that seeks me.

—————————————————————————–
vliegend door de lucht
ben ik overal
geen mens kan vliegen
de mensheid geeft mij vleugels
ben ik een geheel
ben ik een deel
de mensheid omringt dit wezen
dat haar vrijelijk doorkruist
het   is   het   niets
daarbinnenin
de machtige, mooie stilte
en de stilte verklankt
die mij zoekt

boven de Zuid-Chinese Zee
8 november 2010-11-08

fliegend durch die Luft
bin ich überall
kein Mensch kann fliegen
die Menschheit gibt mir Flügeln
bin ich ein Ganzes
bin ich ein Teil
die Menschheit umringt dieses Wesen
das ihr freilich durchkreutzt
es ist das nichts
dadrinnen
die mächtige, schöne Stille
und die Stille verklangt
die mir sucht

Lauren Mark, 17 December 2011

Lauren(1)-new“21st Century Filial Piety”
12.15.2011

We read about how Chinese culture has been steeped in notions of filial piety for thousands of years, but in modern culture, at least, this stream of respect and care seems to flow both ways.  After all, as my friend’s 78 year old French parents recently said to me, your child is forever your child.  Growing up, I remember my grandparents bringing carry-on suitcases filled with chilled treats to our poor barren state that lacked Chinese grocery stores at the time.  I later heard stories about how after they were swindled out of their life savings by their late lawyer’s wife towards the end of middle age, and went back to jobs of manual labor at a time when they should have been transitioning into long deserved retirement, my grandparents still put aside money to help my parents pay for their first house.

I guess grandchildren are yet another side of the story, too.  Still, though, I remember my grandmother peeling grapes for me because I didn’t like the iron residue left on my tongue from eating their skin.  Another memory that I’ll never forget is the day when I visited my grandmother in the hospital shortly before she died.  Clamoring for her attention, I repeatedly called out her name like an ignored alarm clock ringing away.  When her treasured attention was finally turned to me, I fell quiet, not having anything to say.  Trying to guess my unvoiced needs, she offered me some of the food from her untouched hospital lunch tray.

Although Taipei’s streets are usually filled with many bikers with kids in tow around 4 o’clock on a weekday afternoon, one fellow biker caught my eye today.  Despite the intermittent rain, this slight, silver haired gentleman was perched atop a bright purple bicycle in a charcoal suit and shined dress shoes.  His 8 or 9 year old grandson was seated behind him and his backpack seemed to be dangling from one of the bike’s handlebars.

I looked at my own bike’s massive gray baskets, one in front and another in back, thinking ruefully how much this grandfather/grandson team could use one like mine.  As we crossed Xin Sheng Rd, I cycled up behind them and turned to address them once we cleared the road.  In doing so, I realized that the deceptively heavy backpack, you know, the type that comes with wheels to pull it along the street, was being held in the grandfather’s right hand as he steered the bike with his left.

“先生, 您 要不要考慮買像我這種籃子, 可以把包包放裡面?”   (Sir, have you thought about buying a basket like mine so you can put your bag in it?)

The description of “twinkling eyes” has probably been overused in the history of the English language, but I have never met someone who more aptly merited this description.  He looked at me with a vibrant smile, lifting the backpack with a steady arm while replying,

“但是它好重!” (But it’s really heavy!)

“還好啦!” (It’s not so bad!)

And as easily as an argument can be won in Chinese with a few vague syllables, this gentleman acknowledged my suggestion with an effusive “謝謝,謝謝” (thank you) and a bow as low as still being perched on his bicycle allowed him.

I just hope his grandson realizes how much he’s benefiting from the 21st century evolution of filial piety.