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Parole in Liberace: the "Grand Piano" & its accessories-necessaries considered from a Fluxus Street Theater Persepective

The cultural contexts among which any "new" work appears are of great importance for the reception of the work in its own time and in the times following --
In the case of the "Grand Piano", today's cultural construct under review-examination by Dr. Giulio Agosto di Vidiamodopo, our esteemed colleague in theory-critique and a Grand Pianist himself, one must be aware of the full range of the cultural-material and linguistic-formulated manifestations of the discourses across and transgressing the normative and constrictive bounds
which extend from the classifications of the categories of

mass marketed miniaturization

to the full-blown hyper-magnitudes of spectacularized and globalized environments within which is situated the cultural-material-linguistic production work of the soap-opera influenced currently running ten episodes of the "Grand Piano"'s "collective autobiography", which in turn is running on the tracks laid down originally by the Fondatore, who has given us the eternally generative legacy of his never-to-exhausted "Grand Song of the Open Piano" under the sign of his immortal


echoes of which one may find in the "Grand Piano" which by its very title acknowledges the inspiring and influential ceaselessly experimenting presence of the Master among its notations, its tentative, "experimental" scores . . .

and now allow me to turn over the podium to our illustrious and well-beloved colleague, Il Maestro, Giulio Agosto di Vidiamodopo---

Good Evening, Friends, Colleagues, Esteemed Patrons and Lovers of Il Piano Grande di Parole en Liberace:

In the Eternal Network spirit of the Grand Pianist of Fluxus Street Theater El Maestro G. Maciunas, a review-examination of the material elements & accessories-neccessaries which comprise the "laying bared mechanism of the mis-en-scene" of the currently running production of the currently playing "Grand Piano"--.
(if you will forgive me a rather feeble play on words--)

First, for purposes of identification of the authors, those who are presumed to know and write:

Which ten of these Statues are those most paratactically reminiscent of the Statues of the Grand Pianists playing in the Grand Piano?

(Or is this simply a "read herring" of a Fauxk Art piece inserted at the last moment in the otherwise austere and solemn design of the playbill . . . a Fluxus Prank--or indeed a serious question?)

To lay bare the autobiographical "slice of life" mechanisms of the mis-en-scene of the "Grand Pianist" is indeed to reveal the "Art of Living" . . .

a simple, clean design is best for the emphasis on the solemnity and sublimity of the occaision of the production of the Grand Piano . . .

Here w have a breath-taking example from Part Three

an example of the purity of form from Part Two

and from Part One: Let the Tunes begin! in a most appropriate setting . . .

For the material production of a cultural work of this order of magnitude, it is imperative that there be attendant what some may esteem luxuries yet which will i chose to designate as "accessory-necessaries" . . .

Here please note the very high quality custom hardwood floor and the Grand Piano Stool design at once "classical" and "contemporary-jazz" for the Grand Pianists--combining comfort and medically approved back support for the postures required for the playing of the Grand Piano--

of course, it is a well known convention of the traditional and avant-garde both that all mise-en-scenes require a backdrop complete with "Fake Books"--
Nor to mention not to neglect the Grand Pianists of the Bright Tomorrows!--

From time to time even the Grandest of Grand Pianists may have need of an example of Time's Template--for their Art of Time as Grand Pianists-autobiographers--

"Cleanliness is next to Godliness"--one must not forget to keep the mechanisms free of dust, enemy of "purity" and archives--

Tasteful tapestries grace the scented studio of the "Grand Piano", inspiring the aspiring--with the Aspiration of Inspiration while contemplating this mandala image, encapsulation of wisdom and rich with sonic suggestions, fertile with phonemes --

In themselves objets d'art, these are the lovely and sturdy non-sliding foundations of the Grand Piano and the Protectors of its self-reflecting high gloss rare teak hardwood floors--
in which the "Grand Piano" is to be found--gazing at itself gazing back at itself--a veritable Narcissus--
who must be alerted before disappearing into his own self-adoring reflection and reminded that "the show must go on"--

Again, I cannot iterate, nor reiterate, too often--cleanliness, polish--the hallmarks of Grand Piano appearance and performance--Purity of demeanor and display--

These imperatives bringing into being this further ingenious accessory-necessary for the Preservation-from-Dust--
the Grand Piano after all is not Duchamp's Large Glass, landing area of dust and grime--

Here, o colleagues, a suitable pedestal for the holding aloft of the Libretto-Score--

and mighty super-tensile dollies for safe transport of the Grand Piano back and forth from Public Stage to the intimacies of the Privacy of Backstage--

Only the most sophisticated of mics are used for the most "pure" sound possible--
you too, will be uttering the classic phrase--is it Real--or Memorex--
or the more au courant--I can't believe it's not butter--

Only the finest cabinets are used in the preservation of the documents, archives, recordings and files of the Grand Piano--

for in preservation in its purest state lies posterity in state--

in archival preservation lies the Grand Piano salvation of the materialist word--

In sum, my friends and colleagues, by surveying in a review-examination the cultural-materialist construction for the presentation and maintenance of the "Grand Piano", one has developed an awareness of the targeted directions of its discourses, its performative aspects, as well as its "in-dwellings" as it were.

I think it is safe to say--for in my position I must take into consideration above all your security--I think it is safe to say that the object here considered for review-examination is one easily commanding entry into the data-zones of citation, bibliography and notes, while also sure to generate further examinations of its modifications of previously existing versions of the already existing files under which this particular "Grand Piano" has already been filed many times over. I find it safe to presume that its revisionings and revisionisms of extant files will
be of at least a minor interest to those engaged in the minutiae of this particular trope of a narrowly conceived discursive presentation.

Meanwhile may i note that the well known "changing of the guard" in the costume displays of the Museum of the Parole in Liberace is taking place this week.
I have proposed an homage to Il Fondatore in the Eternal Network Spirit of Il Maestro Maciunas, in which acts of destruction will be applied to the material-cultural objects on display for a period of no less than five and no more then eight minutes, giving myself and whoever wishes to participate with me time to exit via the piano wire rigged Flying Costumes of the Fondatore, allowing us to soar majestically above the confused multitudes and assembled guardians of security, and so attain a union with that Nirvana to be glimpsed in the rhinestone studded mirrored ceiling . . . wherein are reflected unto infinity the images of Il Fondatore, set to his own recorded performances--and among which we may glimpse if but momentarily that which exists in the very core of the Eternal Flux, of the Parole Siempre in Liberace.

Ci vidiamo dopo--(Nota Bene: the professor's name Vidiamodopo means "see you later"
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