One of my favourite examples of a word with an awful lot of meaning wrapped into four letters:
It seems simple enough. As in when we draw a picture right?
Let’s think about it. This meaning of the word seems to stem more broadly from to draw, as in to draw out. Say when we go to the nurse and she takes some blood, she will draw it out, or more simple put, draw some blood. To draw, in this sense, suggests something that comes out, perhaps painfully, or even carefully. If one has ever tried to draw, as in art, one can well sense why it is such an appropriate word.
However draw can also refer to something that goes in. That is to draw in, or draw near. To draw, in this sense, means something along the lines of a pull, or an invisible force. So we could say I was drawn by the wondrous light display, or while I was swimming at the beach the rip drew me under.
A fowl swoop seems only natural, but surely we mean a foul one?
A FOWL is a bird, like a pheasant, a chicken or a duck.
One tends to picture a Nineteenth Century English countryside with English gentlemen blasting the skies with their shotguns, hounds yapping at their heels eager to collect dead birds; That or fond memories of childhood. See Danny the Champion of the World.
They are not a swooping bird so much as a bird that gets swatted at.
When something doesn’t amount to much. We have a word for that.
A mute is someone who doesn’t speak, they are mute on the matter, indeed they are mute on every matter.
I mute the television when the ads come on. Likewise, a mute might also mute the television if the phone rang and they wanted to hear what the other person was saying, though in no way could they respond – making their answering the phone somewhat moot.
This is theatre of ideas, forcing us into a world scarily similar to our everyday. A world where humans can be reanimated. A world of the uncanny-valley, the creature himself – a collage of flesh and meat – abhorrent less because of how it’s come about and more because of how startlingly human he his, but not so accurate to be an actual man.
This is the creature’s story. A story of longing and loneliness, of bigotry and monsterism.
What if – a man is born fully made, though horrible to look at he is a sympathetic as any new born, what will become of such a man if they are abandoned and left to fend for themselves? Who will they turn too? What will they seek out?
This is the question behind Frankenstein. It is heart breaking in its answers.
Written in 1956 The World Jones Made shows some startling insight into a post apocalyptic 1950s America.
It asks a bold question. If a man can see his personal future as if it was his present, then when he acts is it because he decides to do so or because he was fated. What then is man? At the whim of an unrelenting universal nothing, or a driving force against that.
Diciembre is a near future fable of love, war, patriotic duty and familial love.
Set in not too distant future, Chile is at war with both Bolivia and Peru in a seemingly repeat of the War of the Pacific.
A brother home for Christmas is confronted by his pregnant twin sisters each with their own plans for his future. The older (i think) wants him to fulfil his patriotic duty and kill as many of the opposition as he can, while his younger sister, wants him to run away, flee the army and find refuge in the South.
Raise your hand if you like a bit of Tom Hanks in a tin can?
You know what I mean. The movie Apollo 13. It is just bloody good fun, in that whole will he or wont he kind of way. Spoiler. He does.
Question. Take this story based on the events of the ill-fated Apollo 13 mission and then stick it on stage where the audience (or at least a good deal of them) is in mission control and what do you have?
Well, want you don’t have is the will he or wont he. Not because there isn’t a Tom Hanks in sight, and certainly not because the fundamental story isn’t gripping. It is, regardless of familiarity.
But perhaps primarily because of the way it is done. This is an experiment in immersive theatre where the audience is involved in the re-telling of the drama. This is it’s strength and it’s weakness.
If it is true that Brisbane theatre audiences tend to buy their tickets in the same week that the show is on, then this presents a problem for the theatre producer looking for surety of audience and financial stability.