We're truly honored to have Monique Wittig be
part of our community here at the University of Arizona.
To introduce her to you, I would like to introduce Julia Balén,
who is a graduate student here in Comp Lit.
Julia?
I think these things are dangerous.
I guess I'll just hold it here.
Oh, there you go.
OK, I see.
There we go.
OK.
First of all, I want to say that Sande Zeig is reading along
with Monique Wittig.
And Sande is a mime, author, dancer, teacher, playwright,
actor, choreographer, filmmaker, acrobat, translator, stage
director, and producer.
Is that enough to impress you, yes?
Sande is also the recipient of the 1990 OB
Award, the MacDowell Colony Fellowship.
She has worked with Jean-Paul [? Sartre ?],,
Mark Daniels, Jackie Raynal, I think, Peter Sellers,
and of course, Monique Wittig.
Her works have included The Impersonators, which
I've had the good fortune to see, at least on film;
and Behind the Heart; Nixon in China.
Monique is perhaps a little more familiar to most of us here.
She is-- we can't mention Monique
without at least mentioning the Prix Medicis, which
she received in 1960 for the most prestigious
of French literary prizes.
We all know that she has written many plays, short stories,
literary criticism, and translations,
or at least I hope you know that.
Far too many to go in here.
Let me merely mention a few of her books--
L'Opoponax, or The Opoponax; Les Guerilleres,
translated by the same name in English;
and Le Corps Lesbien, along--
oh, Virgile, non also, which was translated across the Acheron.
Along with Sande, the two of them
have worked together fairly extensively.
They wrote Brouillon pour un dictionnaire des amantes, which
is translated Lesbian Peoples: Material for a Dictionary.
And there's another one, oh, a play, Le Voyage sans fin,
which was-- which Sande translated and worked in the--
translated as The Constant Journey.
I want to say of both of them that their art is both honestly
courageous and courageously honest,
and that, for me, taking Monique's words,
I will say that they interrupt me,
you sing with strident voice your certainty of triumph
over my death.
You do not heed my sobs.
You drag me to the surface of the Earth
where the sun is visible.
Only there at the exit towards the trees and the forests
do you turn to face me with a bound.
And it is true that looking into your eyes,
I revive with prodigious speed.
Help me welcome Sande Zeig and Monique Wittig.
[APPLAUSE]
So I don't know if you can hear me.
Can you?
By the two?
Louder?
Yes.
Then I will have to make faces.
I wanted to talk a little bit about The Constant Journey
before we start reading because you
will see some images on video which
may be a little disconcerting.
So The Constant Journey is a kind
of rewriting of Quixote and Panza,
I mean, the book by Cervantes.
I won't call it otherwise.
It was first played at Goddard College, where we had a grant
to produce it, and then we had two grants
to produce it in France at the theater Renaud Barrault. That
means [? Simon Venusa ?] allowed us to produce
that play at the theater Barrault.
I don't want to forget that name.
So to explain a little bit how it worked.
I wanted to read what--
short note, a kind of introduction.
I have a feeling nobody can hear me.
No?
"All theater functions around the same themes
used over and over again.
Here, the undertaking necessitates
a double justification due to the fact
that the actors of the roles are not men.
It's not a mere transposition, as I have been reproached.
If the audience of The Constant Journey
is convinced at the fall of the curtain
by these new characters of Quixote and Panza,
it is that they have assisted scene
by scene to the refabrication of heroes of a new genre.
It's true that the success of this play
requires active spectators capable of recreating
a fable in its entirety.
As is usually the case, they know it by heart since each
episode is faithfully taken from Cervantes rewriting including
the scene of The Puppet Show and Quixote's rewriting since
in the second part of Cervantes' Quixote,
[? he knew ?] his own adventures and took
[the author's ?] place.
It seems provocative to me to have precisely chosen
in order to do this such typically masculine heroes,
so too is it that I am sure that at least half
of the public in its readings and its fantastic productions
who creates itself in hero as well as heroine."
That is to say in one's reading as in one's dreams
when thinking of oneself, I think
that we do it beyond the sexes.
That's all I wanted to say about that because it
would be too long otherwise.
I want to give you a list of the characters,
of course, because this transposition of Quixote
in heroes of another genre adds some repercussion about views
of heroes around.
That means Quixote or the mother, sister--
sister one, sister two--
an aunt, and then also galley slaves
like in the Book of Cervantes, and Quixote,
which was originally played by Sande Zeig.
The list of the scenes include in the order
that you will see them--
The Approach to the Fortress, The Books Must All Be Burned,
The Giants Books, The Windmills, The Books That Combats
Injustice, In Search of Dulcinea,
The Forest, Mime About the Chin Washing,
The Galley Slaves, The Puppet Show.
And we will stop the play here because I'm
afraid it will be too long.
But after that, he is back to the village, Quixote and cage,
the books and madness.
I think we can--
I should also say that the play was
operated on the dissociation of the sound and of the action.
I wanted both to use a technique--
the techniques of filming and to take the advantage
in the dissociation of sound and action that--
because the heroes were not men, it
was kind of interesting to play with that device.
And obviously that the sound is whispered not to recognize sex
in the voice.
You will hear it was a--
Should we begin?
Yes.
Should we test this?
We're getting an echo or are we OK?
It's OK?
OK, we can begin.
OK, so one other thing, I'm playing Quixote and Monique
is playing Panza.
When we're not going to be-- when we're not
playing because there are other characters,
then we will indicate that to you by looking at the screen,
OK.
There are several sequences where
we won't be speaking because the other characters--
the mother, the aunt, the galley slaves--
will be in the voiceover, and so we'll just pass by those.
"What do I see appearing before me?"
"Well, I don't see anything."
"There, that superb castle on that rocky peak."
"I see the peak, it's been worn away by all the wind."
"Yes, but look at the walls of the fortress,
no wind could shake them."
"As for the fortress, I don't see it."
"Do you mean to say that you don't see that castle
with sparkling roofs?"
"No, your worship.
I can see a crumbling home that must be
used as a shelter for sheep."
"Sheep?
Undoubtedly.
Deceive yourself as much as you like, but be silent.
I must collect myself and prepare a response
to the welcoming speech that will surely
be addressed to us."
"Quixote, maybe the building is an inn.
I'd like them to welcome us with wine and a roasted lamb."
"Be silent, I tell you.
How can you speak of food at a moment like this?"
"Ha, we have not eaten since this morning."
"Curb your appetite, Panza.
Haven't you noticed how light your spirit is when you fast?"
"Quixote, when I left with you, I
did not pledge myself to not eating."
"Be patient.
This magnificent castle will welcome us worthily."
"As there is as much love as this castle,
I'm afraid I am already full."
"Do you have another complaint, friend?"
"I want Sea Island, you promised me.
Even though we have been working for a good long time,
and we have not seen one yet."
"Panza, Panza, how you lack faith.
Have I not told you that one day,
I would be the head of an empire?"
"You did."
"And when that occurs, I would make
you a president of an island."
"Ah, when that occurs."
"I'll give you a big island."
"Show me even a little, tiny one."
This is called The Books Must All Be Burned.
The next scene is The Giants.
"Keep in mind, Panza, that what they call madness,
I call reality.
What will you say?
Isn't it proof that you are mad if you are the only one
to think that something is real?
I ask you, Panza, how does the fact that I am the only one
to think that something is real prove that I am wrong
and that everyone else is right?
Couldn't it be that they are all mad,
while I, alone, am reasonable?"
"You can't deny that the sheep we just fought were sheep."
"Sheep.
Really, Panza?
You are naive."
"I saw them, I saw the wool, I saw the hoofs,
I heard them bleating."
"You think you heard them bleat.
But in reality, beneath their bleating,
there was the voracious howling of a wolf."
"But they bleated."
"That you heard them bleat is one thing.
That does not mean that they really bleated."
"What do you mean, my dear Quixote?"
"Panza, Panza, you didn't hear them howl like wolves,
but you didn't see their sinister and cynical smiles.
And you didn't see their long teeth either."
"I had seen long teeth on those sheep,
I would have taken them for monsters."
"Monsters.
That's exactly what they were.
Didn't you see their disproportionate size,
swollen as they were with blood and misfortune?
Vampires, source of misery.
When I say wolves, it is only a [AUDIO OUT]""
"Still, Quixote, those sheep in question
had balls of wool on their backs and even bigger ones
on the sides.
I was caught on one of them, that was wool.
There is no question.
I still have some on me."
"Panza, have you asked yourself why everyone is so
hostile toward knight-errant?
Do you honestly believe that there is no longer
any injustice in the world?
No more oppressed people?
No more children to save?
No more women to succor?"
"What?"
"Can you not see that the only ones who
are actively concerned about fighting these things
are knight-errant?"
"Clearly with success."
"With this in mind, how can you be surprised
that there is hostility toward knight-errant?
Idea of this world are hostile to knight-errant.
They persecute us because we are the only obstacles
to their absolute power."
"But who are they?
When did you meet them?
At least give your name."
"Well, I call them giants, and you call them monsters.
I tell you, Panza, we must put to death
the arrogance in the giants."
The next scene is Quixote's books.
The next scene is The Books That Combat Injustice.
OK, the next scene is called The Windmills.
We're having a vertical hold problem.
"See my dear, Panza, if soon we are not guided by good fortune,
look at those monstrous giants.
I intend to do battle with them.
There are more than 40.
But with my lance, I will make them less than a mouthful.
Panza, with the spoils, we will begin to get rich."
"What giants?"
"Those you see there with their long arms.
Some giants have them nearly one mile long."
"Take care, Quixote.
Those giants are windmills, and what you take for their arms
are the sails that makes a millstone move by wheeling
around."
"Need you be so blind?
Rub your eyes, and look at their arms in proportion
to those teeth and sinister smiles.
Listen to their sneering and provocations.
They are giants and as monstrous as can be.
I am going to attack them alone.
If you're afraid, kneel down and say your prayers
while I engage in this fierce and unequal battle."
"Wait, Quixote.
Watch out!
Come back!
They are windmills that are going to send you
when the sails start turning.
Quixote, no.
They are not any giants, not a single one."
"Do not fly, vile creatures.
It is Quixote, single-handed, who assails you.
Even though you have more arms than Fenja and Menja together,
you shall pay.
Dulcinea, dear mistress, cast your eyes upon your servant.
Consider my danger.
I commend myself to you so that you may give me assistance."
"You must have windmills on the brain
to attack real and unmistakable ones, my poor Quixote."
"Silence, friend Panza.
Matters of war are subject to more brutal change
than anything else in the world."
The next scene is called In Search of Dulcinea.
"And I am, indeed, eager now to engage the unequal Dulcinea
to share my adventures, just as it should be if she
wants to share the glory.
And we will undoubtedly perform the most perilous adventures
because nothing affirms the courage of knight-errant more
than fighting with a peer and companion at their side."
"Your worship will have a hard time convincing
Aldonza Lorenzo, whom you have baptized Dulcinea del
Toboso, to leave her farm in order
to follow you on the road.
And I then, Panza, do not follow you
if she would pay me less than Tomas Carrasco the farmer."
"Then I forget, Panza, that Dulcinea has always
shown an interest in the chivalrous deeds
of the peasant."
"Not in front of me."
"Though you do not know it, I can swear that it is true.
But continue.
When you gave her my letter, did she
kiss it or put it on her head?
Did she do something worthy of that letter?
What did she do?"
"When I went up to give it to her, she said,
'I can't read it till I have finished what I have here.'"
"I recognize her wisdom.
Undoubtedly, she wanted to enjoy it at her leisure.
Go on, Panza.
What questions did she ask concerning me?
What did you reply?"
"She did not ask me anything.
But I told her how your worship was doing penance for service--
sleeping on the ground, never eating off a tablecloth
nor combing your hair, and weeping and cursing your fate."
"You spoke wrong, friend Panza, in saying
that I was cursing my fate.
On the contrary, I bless it and will bless it
all the days of my life for making
me worthy of loving the high Dulcinea del Toboso.
What did she do after reading my letter?"
"Quixote, she did not read your letter.
It was enough that I told her of your worship's love for her.
She told me to tell your worship that she kisses your hands
and that she prefers to see you than to reply to you.
She begs and orders you to leave this wilderness right away
and set out immediately on the road to El Toboso
because she has a great desire to see you."
The Forest.
"Dear Quixote, it's too dark.
It's dark that I cannot even see the trees.
This must be the deepest forest in the world.
I feel like I am in prison."
"Come now, Panza.
Can you experience greater freedom
than in the heart of this wood?"
"If at least we were lying asleep in soft grass."
"Panza, go to sleep.
I will keep watch."
"Did you hear that?"
"I'm lost.
They're coming to get me."
"Saddle, Rocinante.
Quickly, Panza.
I'll let the whole world know that Quixote
is more courageous than Charlemagne and Philip
of Flanders combined."
"I know that they approach us because of the anger of the Big
Dipper."
"How do you know?
You can't even see a star in the sky."
"It's a fact that it's dark, but fear
has many eyes that's everywhere, even underground,
and all the more in the sky.
Ah, dear Quixote, your knighthood
must devote yourself to confront human adversaries, not
supernatural causes like the ones I hear
that make my teeth shatter."
"My courage is even more steadfast
because the danger is greater."
"But did you hear [INAUDIBLE] sound?
Quixote, if not for yourself, at least for me,
wait until day before you fling yourself into this adventure.
I left my husband and children for you
and now you want to abandon me in the middle of the wood?
You would leave me to be devoured by monsters or giants
that you yourself admit exist?"
"Come now, Panza, enough emotion.
Quickly saddle, Rocinante.
I've driven my spurs into Rocinante's flanks in vain.
She doesn't move from this spot.
She leaps in place, but she'd advance."
"You see, Quixote, that's a sign that you must stay here
until day."
"It's a fact that Rocinante cannot move.
So I must wait here until the smile of dawn.
But I weep because of this delay."
"Don't worry, my worship, I will entertain you
by telling stories until the light."
"One story will be enough."
[INAUDIBLE]
Can we stop you for a while for just a minute?
I decided to wait for a longer time,
but we don't want to bore you, and it
seems very hard for you at least to hear us
and to follow the video at the same time,
only because we are outside, I think.
So we might end it here if you all agree with us.
The Galley Slaves?
OK.
Then we will read with the video, OK?
The next one.
OK.
The next one is called The Galley Slaves.
"Panza, did I not tell you that my assistance would soon
be needed?
Look at those poor unfortunates who walk bound in chains."
Panza.
"They are going to the galleys, criminals, prostitutes, maybe
even murderers."
"Whatever their crime, they alone can judge them.
And whoever dares to put them in chains,
do not call them judges.
In all honesty, I cannot shut my eyes while passing by human
creatures who obviously need my help.
Let us approach and ask each one of the prisoners."
Panza.
"If they had the strength, the courage,
and the intelligence of Gines de Pasamonte,
they will not be here."
"You, the one with such gentle manners,
I assume some injustices brought you here.
Allow me to carry your ball and chain."
Prisoner one.
"Poverty is my only crime, my knighthood.
After I spurned the advances of the master,
he declared I was a prostitute, and I was arrested.
My name is Angela."
"Angela, the well-named, angel of these poor unfortunates.
They suffer great injustices because of your virtue."
Prisoner one.
"Knight, I was not sentenced for my virtue but for my firm
stand."
Panza.
"May Gines de Pasamonte help you."
"And more old women.
Do tell us, is this where you belong?"
Prisoner two.
"Oh, without a doubt, since I am here.
But old?
I'm no older than your knighthood who guises shield
and a lance like a young fool.
Attempt to staying in your saddle
and keep your pity for yourself.
That's all I have to say."
"I use the wrong words.
Forgive me and tell me your story.
This is not time for politeness."
Prisoner four.
"Leave her alone.
She's furious because she confessed to several crimes.
There is no greater shame for a prisoner."
Panza.
"May she be born again in the form of Gines de Pasamonte."
"And you, with a sad face and brisk walk,
is it not by some error that you find yourself here?"
Prisoner three.
"I aborted an undesired child.
I was arrested as a murderer."
"Here is one of your murderers, Panza.
Look at her face and her expression.
What do you have to say?"
"She killed or not?"
"Yes, I did, and I would do it again."
"There is no murder, there is no crime,
so long as what we kill has no soul.
And while an infant is unborn, it cannot have a soul.
Otherwise, we have to assume that a pregnant woman has
two souls.
And believe me, that is a theologically insurmountable
problem."
"I know nothing about souls.
I don't feel mine until I stay too long without eating."
"Go in peace, my friend, and have courage
until your freedom, which is close at hand."
"So one who is not Gines de Pasamonte
if I can judge by appearance."
"Don't be afraid.
Come closer.
What have they done?
What have you done to deserve such punishment?"
"I killed a man.
His act was so palpable and odious that they did not
dare demand my head."
"By the burning fire, .
I like you.
There would not be any more victims
if every victim were like you."
"Indeed.
They would all be in Iran.
Are you Gines de Pasamonte?"
"Are you going to tell me who this Gines de
Pasamonte is with whom you're driving me crazy?"
Gines de Pasamonte.
"It's I. And I can see that I am better known by your squire
than by yourself, haven't it, sir?"
Gines de Pasamonte.
"Your pity is misplaced since you can't do anything for us.
But I will tell you why I'm here.
When my rich family decided to marry me off,
I went away and became a highway robber instead."
"I will not lecture you.
You will be saved along with the others."
"Don't think that I am unworthy of your good care.
I stole only from the rich, and with the riches like
[INAUDIBLE- ? purse ?].
I tried to rectify the injustice inflicted upon the poor."
"Really?"
"Really.
You can ask [? Verde Mirador ?] On her own accord,
even after I exacted ransom from her family,
now she's helping me write my memoirs."
"I would be curious to read them."
Just-- do we fill Puppet Show or-- so we fill Puppet Show
and then--
This is the chin washing, and it's a silent scene.
Quixote had to have a wash to attend a banquet.
OK, the next scene is The Puppet Show.
The narrator.
"These two stories presented here to you, dear spectators,
was taken word for word from ancient Greek history
and the epics of the poets.
And as you know, it's on everyone's lips.
It tells of the liberation of the Queen Hippolyte
by her lover, Antiope, when she was a prisoner in Athens
at the hands of the Greeks.
Here you see the Greek boat, which raised anchor,
taking Queen Hippolyte away even though she
boarded at this Thermodontine ambassador.
That man over there having [? his hands ?]
together is Theseus, overjoyed by his treachery.
Here, you see him welcoming Hippolyte with many honors.
He appeared to come on board.
That was the queen who appears on the post
is Antiope, Hippolyte's lover.
See how she grieves over the disappearing boat.
See how she saw them come to the calm.
See how she sits upon it.
See how she beats her chest in anger.
See how she is immediately surrounded
by very close Amazons and how enraged they are at the Greeks.
See them gathering.
See how they swear to reach Attica and Athens
and wreak havoc on both plane and city
until the queen is returned to them.
Now see the tower of this palace.
Hippolyte is tied up inside, deprived of her weapons.
See how Ephesians smells like snow in the sun
and how it essentially waits upon her."
See what furious glances she--
can you take--
"See with what furious glances she contemplates the Greek.
See how often her eyes turn toward the plane
to see her friends and avengers arrive
and how the plane is empty and the dust glistens."
"Be brief.
Go straight to the facts in your story.
Don't be swept away by the details."
"The person coming into view here,
you must recognize her as Queen Antiope.
And if smoke comes from her mouth and her nostrils,
it is because the anger and pain have set her chest
in motion like a forge.
And if she had a beard, she would tear it out."
"What is the meaning of this beard story here?"
"Isn't it customary to mention a beard
when a majesty is involved?
Queen Boadicea had a red beard according to what they say.
Queen Hatshepsut wore a pharaonic beard.
Charlemagne had one, and the Romans
were the only emperors who had bare chins."
"That way, it was easier to wash them before the great banquets.
I can give you an account of the chin washing ceremony."
"Permit me to return to my first duty
of maintaining my audience.
To my right, bound with fetters is Queen Hippolyte
whose strength, if not her courage,
decreases hour by hour because Theseus is starving her
in order to break her resistance.
To my left, the Thermodontine army has arrived in Athens.
See how pale and weak Antiope becomes
at the sight of her lover held so tightly at Theseus' hands.
Hippolyte, as you can see, draws herself up slightly and says
weakly, 'Too late, my friends.
You have come too late.
Never again will I see the banks of the Thermodon River
and the walls of the beautiful Themyscira.'
And then during the night, after cutting the guard's throat,
Antiope unties Hippolyte and carries her away.
See her horse waiting at the bottom of the tower.
There are eyes everywhere that have nothing to do but spy.
Antiope's hasten departure with Hippolyte,
her descent along the ramparts, her mount onto the saddle,
all these things are reported to Theseus, who
immediately sounds the alarm.
Observe with what promptness he's obeyed.
See the Greeks scram themselves and see their helmets shine.
See the great sorrow at the sight of the rival towers
in their city whence the Amazons began to bombard them,
rendering the pursuit of Antiope problematic.
Nevertheless, I fear that she and Hippolyte
will be recaptured for Theseus is leading
a small battalion of soldiers with fresh horses
through a secret door unknown to the Amazons.
If he recaptures them, he will bring them back tied
to the tail of their horse.
Ah, that would be a horrible sight."
Quixote.
"No.
Never while I leave will I permit such an outrage
to be committed in my presence upon so families or lovers,
so brave a warrior as Antiope.
Stop infamy scoundrel, cease to pursue her
or else prepare yourself for combat."
"Stop, Quixote.
You aren't fighting, killing, and demolishing real Greeks.
Woe is me you've ruined me.
Everything I own is destroyed.
Ah, your name is well founded, and truly you
have a sad countenance.
You thus disfigured all my puppets."
"I wish the people who do not believe
in the value of knight-errant were here.
Look at what would have happened to Antiope and Hippolyte
if I had not been here.
They would have fallen into the hands of these Greeks.
Those dogs would have committed every possible outrage
upon them.
So long live knight-errantry above everything in the world."