[spectre] beMyGhost: Punch and Judy Show
magh at chello.no
Wed Jun 18 23:09:58 CEST 2003
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Noemata's beMyGhost: Punch and Judy Show
A light seaside summer entertainment
The plaintext dessert of a desert hyperwork
A puppet show beyond good and evil
As performed by the professors of automata,
Now playing the Inbox Theater Scene -
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The story so far....
He is known as Pulcinella in Italy, Guignol and Polichinelle in
France, Kasperl in Germany, Casper in Sweden, Karagioz in Turkey,
Karagiosis in Greece, Petruk in Indonesia,
He's been around a long time in one form or another. He's an imp of
mischief out of the mists of time. We know him as Punch. As
Pulcinella, the actor, he was part of the Commedia Dell' Arte troupes
of Renaissance Europe. To trace him back further takes us into the
very ancestry of pantomime itself, back to Ancient Rome and Classical
Greece and the licentious topsy turvey world of Saturnalia and Satyr
plays. He exists in many cultures for he is one form of The Trickster:
a key figure in society's development; a figure able to turn shared
values upside down for the shocked amusement of the community and the
ultimate strengthening of the bonds that mutually bind it.
Charles Dickens was also a great admirer of the Punch and Judy Show.
Mr. Punch is frequently mentioned in his novels. One work, The Old
Curiosity Shop, seems to be based almost entirely on the Punch
tradition. The show has taken a fair amount of stick in the past for
being violent, or not politically correct and being flippant about
domestic violence. Charles Dickens is among those who have nailed this
Who Are Punch and Judy? Punch and Judy are arguably the most famous
traditional puppets in the Western World, with a colorful history more
than 300 years old. Mr. Punch, with his hook nose, hunched back and
garish costume, is a cultural icon in England. His unabashed joking
and rowdy, mischievous behavior have provoked paroxyms of laughter
from audiences throughout time. An impressive body of art is graced by
Punch's outrageous countenance.
PUNCH: Are you a doctor?
HANGMAN: Yes, are you alright?
PUNCH: No, I'm dead.
HANGMAN: You can't be dead.
PUNCH: I'm dead, dead, dead.
HANGMAN: How long have you been dead Mr. Punch?
PUNCH: About 6 weeks.
judy,Mr. Punch,punchinello,polichinelle,puppetry, puppet heros,wooden
heads,that's the way to do it,what a pity,somerville, colwyn bay,rhos
on sea,comical tragedy,tragical comedy,mr punch's opera,
pulcinella,harlequinade,hunch back,hump,big nose, professors,punch
call,itinerant,marionettes, seaside,entertainment,on the beach,beach
performers,on the sands, carnivals,The Punch and Judy College of
Professors,The Punch and Judy Fellowship,swazzle,swatchel,old red nose
Hoban quotes him as saying, "Punch is so old he can't die."
In its classical, glorious sense, immortality is the quality of what
passes beyond death, the quality of the supra-living. In its
contemporary version, it is the quality of the sur-viving, that is, of
what is already dead and, by that token, becomes immortal.
"It's a fine show sir." he replied. "jolly fine show". Then, with a
guffaw he added "And a damned bad moral".
"Many of the Trickster's traits," Radin writes, "were perpetuated in
the figure of the mediaeval jester, and have survived right up to the
present day in the Punch-and-Judy plays and in the clown" (xxiii).
Who is Punch anyway? Where does he come from? And how could so
impossible and ridiculous a character have survived the changes and
turmoil of the passing centuries? The plain fact is that nobody knows.
Certainly the figure of Punch as we know him today has a direct link
with the commedia dell'arte of the seventeenth century, but the
character is far, far older. The original significance of Punch's face
and figure - his enormous nose and hump - are meaningless to an
audience of modern times when, perhaps, it is not customary to
associate large noses and sexual potency or find hunchbacks mirth
provoking. But it is possible that Punch has lasted so long because he
so blatantly cocks a snook at the restrictions of civilised society
and perhaps every man, at some time or other would like to flaunt the
laws of society with a comparable nonchalance, removing those who got
in his way, pursuing his amorous inclinations willy nilly, and
defeating, in the end, the devil himself! How often we say of a
likeable rogue "He could get away with murder." And Punch
does - or almost always does - and he is such a likeable rogue and, of
course, he's only a puppet and puppets can get away with anything.
HANGMAN: Now prepare yourself for execution.
PUNCH: What for?
Mr. Punch. A Roman mime called Maccus was the original of Punch. A
statuette of this buffon was discovered in 1727, containing all the
well-known features of our friend- the long nose and goggle eyes, the
hunch back and protruding breast. The most popular derivation of Punch
and Judy is Pontius cum Judæis (Matt. xxvii. 19), an old mystery play
of Pontius Pilate and the Jews; but the Italian policinello seems to
be from pollice, a thumb (Tom-thumb figures), and our Punch is from
paunch.} The drama or story of our Punch and Judy is attributed to
Silvio Fiorillo, an Italian comedian of the seventeenth century. Punch
triumphs over all the ills that flesh is heir to. (1) Ennui, in the
shape of a dog, is overcome; (2) Disease, in the disguise of a doctor,
is kicked out; (3) Death is beaten to death; and (4) the Devil himself
is outwitted. -Brewer's Phrase and Fable
This compulsive desire for immortality, for a definitive immortality,
revolves around a strange madness - the mania for what has achieved
its goal. The mania for identity - for saturation, completion,
repletion. For perfection too, the lethal illusion of the perfection.
'Every ecstasy ultimately prefers to take the path of renunciation
rather than sin against its own concept by realizing it' (Adorno)
To the identitary individual, the virtual clone, there corresponds a
horizontal madness... a delirium of self-appropriation - all the
monstrous variants of identity - not of the schizophrenic but of the
isophrenic, without shadow, other, transcendence or image - that of
the mental isomorph, the autist who has, as it were, devoured his
double and absorbed his twin brother (being a twin is, conversely, a
form of autism à deux). Identitary, ipsomaniacal, isophrenic madness.
Our monsters are all manic autists. As products of chimerical
combination... deprived of hereditary otherness... they have no other
destiny than desperately to seek out an otherness by eliminating all
the Others one by one.
Punch-and-Judy show - a traditional puppet-show in which Punch is
shown nagging, beating, and finally killing a succession of
characters, including his wife Judy.
The problem of Frankenstein, for example, is that he has no Other and
craves otherness... But our computers also crave otherness. They are
autistic, bachelor machines: the source of their suffering and the
cause of their vengeance is the fiercely tautological nature of their
Punch did not always have his own play; it seems his first role, in
England, was to provide comic interludes in serious plays by
interrupting the action as and when he could.
A MODERN PUNCH SCRIPT CHARACTERS PUNCH; JUDY; BABY; POLICEMAN; CLOWN;
CROCODILE; HANGMAN; GHOST
the challenge of the Ghost representing Death, is considered Punch's
We long ago stopped believing in the immortality of the soul, a
deferred immortality. We no longer believe in that immortality which
assumed a transcending of the end, an intense investment in the
finalities of the beyond and a symbolic elaboration of death. What we
want is the immediate realization of immortality by all possible
the conquest of whom enables Punch to finally defy the Devil himself.
So long as there is a finalistic conception of life and death, the
afterlife and immortality are given, like the world, and there is no
cause to believe in them. Do you believe in reality? No, of course
not: it exists but we do not believe in it. It is like God... If
something does not exist, you have to believe in it. Belief is not the
reflection of existence, it is there for existence, just as language
is not the reflection of meaning, it is there in place of meaning. To
believe in God is, therefore, to doubt his existence. Belief is
superfluous, just as Canetti says vengeance is superfluous; it is
rendered unnecessary by the inexorable reversibility of things. In
exactly the same way, passion is a useless supplement to the natural
attraction between things, and we might say the same about truth,
which merely complicates appearances unnecessary.
- or as a mirror merely refracts your image without believing in it.
God, for his part, if he exists, does not believe in his existence,
but he allows the subject to believe in him, and to believe he
believes in it, or not to believe that - but not to believe he does
not believe in it. -Stavrogin
When the Devil has been done away with, Punch exults to the audience:
"The Devil is dead! Now everyone can do as he likes!"
But what will the human race do once free of any belief? It will
either fullfill itself egoistically, obeying an exclusive, sovereign
individualism (Stirner), or do so collectively, by setting out on a
long, historical course, as in Marx, or it will shift its sights to
the superhuman, through a transvaluation of the values of the species
- this is the path marked out by Nietzsche, who argued that the human
race cannot be left to itself, but must aim beyond itself and discover
the great metamorphosis - that of becoming... Nietzsche has written
magnificently of the vital illusion - not of the 'worlds beyond', but
of the illusion of appearances, of the forms of becoming, of the veil
and, indeed, all the veils which, happily, protects us from the
objective illusion, the illusion of truth... Needless to say, this
transvaluation... has not taken place, except precisely in the
opposite sense... A transvaluation folding in upon itself towards a
non-differentiation, a non-distinction of values, itself fetishized in
an aestethics of plurality, of difference, etc. Not any longer a
fetishization of divinities, great ideas or grand narratives, but of
minimal differences and particles... This de-differentiation of the
human and the inhuman, this reabsorption of the metaphor of life into
the metastasis of survival is effected by a progressive reduction to
the lowest common denominator.
The Crocodile was a late arrival in the story and has now been an
important character for about a hundred years. First he was a dragon
which eventually became a crocodile. Perhaps the idea of a crocodile
became firmly established after children had been frightened by the
Crocodile in Peter Pan. The Ghost is seen occasionally still.
Originally the Ghost of Judy, it is now just any old ghost.
Who was Pulcinella - or as he is sometimes called Pollicinella or
Pulicinella? His role was primarily that of a servant, as indeed was
that of Harlequin, and he was obviously a comedian. He wore an
artificial nose, pot-belly and hump -all calculated to make the
audience laugh, and he was the mixture of jollity and cruelty, wit and
stupidity just as Punch is today.
The Punch/Trickster concept embodies notions of anti
establishmentarianism, buffoonery and shamanism that [reflect]?
attributes of the creative individual functioning in an authoritarian
ethos [the late 80s] ? bucking the system, inverting [values]?
Assuming an ubuique persona and balancing precariously on a mono
cycle, Punch/Trickster pedals blindly into an unknown future, fending
off unseen adversaries with an ineffectual weapon. The sculpture? is a
concretisation of a state of mind or an existential predicament. It is
concerned with delusions of grandeur and vulnerability ? paradox and
The Trickster as buffoon acts out a quixotic farce in ironic fashion.
Ubu Roi, a precursor of the theater of cruelty, the absurd. Punch/Ubu?
Puncheon. Pernille og Mr. Nelson?
JUDY: Where's the baby?
PUNCH: (In a melancholy tone.) I have had a misfortune; the child was
so terrible cross, I throwed it out of the window.
It is generally thought that the obsession with survival is a logical
consequence of life and the right to life. But, most of the time, the
two things are contradictory. Life is not a question of rights, and
what follows on from life is not survival, which is artificial, but
death. It is only by paying the price of a failure to live, a failure
to take pleasure, a failure to die that man is assured of survival.
Punch's women performers Bearing in mind that Mr Punch is a folk
hero/rogue/ scoundrel/ trickster of the opposite sex from ourselves,
why are we so keen to portray his story? And what might the women
Professors add to the drama of the tradition?
The traditional Punch and Judy show presents Punch as the simpleton
hero, who successfully outwits various characters, representing his
oppressions, in order to gain his freedom. This 'clever fool' type is
often portrayed as a male anti-hero in folklore, (Jack, Til
Eulenspiegel, Clever Hans, Monkey, Anansi and Brer Rabbit are some
examples). Somehow he always manages to achieve through his stupidity
what others fail to achieve by concentrated effort. Punch is a
combination of the fool and trickster. His characteristics are a
collection of the archetypal shadow masculine traits, those which are
socially deemed to be undesirable - cowardice, lewdness, rudeness,
stupidity, fickleness, irresponsibility, selfishness, greed
................ and violence or cunning
Mr Punch, the trickster, carnival fool, king of anarchy, is an absurd
masculine archetype of those aspects of the human psyche that want to
turn the world upside down and create chaos. His gross appearance
the bulbous hooked red nose and the phallic 'hump' on his back,
comically reinforce his male sexuality, along with the big red
slapstick, which he wields as the answer to all his troubles. His
character and appearance have their roots in the ancient ritual
dramas, celebrating birth, death, resurrection, conflict and
fertility. In our 'civilised', hierarchical, bureaucratic and
patriarchal society Mr Punch has evolved and survived through the
centuries as our national 'Lord of Misrule.'
Punch men often portray Judy as a wonderfully fussy, bossy pantomime
dame type with a high falsetto voice. (Note that this makes the
character a parody of the male's fantasy of woman).
When knocked down, she bobs up again several times in comic protest,
always with one more thing to say. Sometimes her final utterance is
almost orgasmic in nature so that the mock puppet death we are
witnessing might more closely resemble 'le petit mort' rather than
When she returns to discover that Mr Punch has inadvertently (in true
'ignorant simpleton' style) made the baby into sausages she is, as any
woman would be, at first distraught and then angry. However, having
fully expressed her grief and given Mr Punch a piece of her mind she
quickly moves into acceptance, and realises this is her opportunity
for freedom: "Well now Mr Punch - You made the baby sausages so you
can look after the baby sausages! That's fair! I'm going to claim the
insurance money and take a nice little holiday in Majorca. No, you
can't come with me. You're to stay at home and look after the little
And off she goes, leaving Mr Punch and the sausages to the mercy of a
big green crocodile with tooth-filled gaping jaws. Her triumph is that
she has called Mr. Punch's bluff. Rather than waiting to be knocked
out of his way, Judy leaves him with the consequences of his mistakes
and removes herself to a more fulfilling situation. She does the
separating off. This gives Judy an equal status to Punch in the drama,
although he still remains at the centre of the story and fulfills his
usual trickster role with his other adversities.
Adult enthusiasts can recognize him as the head of one of those
dysfunctional families of Drama that span from Oedipus and Macbeth on
the tragic side to the Addams Family and The Simpsons on the frivolous
side. He - and other little red nosed rogues like him - have been kept
alive down the centuries because his irrepressible antics and his
flying in the face of convention have amused generations of ordinary
people - particularly those with no power of their own.
Step warily around the fair Welsh seaside town of Aberystwyth this
weekend for everywhere you look will be a strange beak-nosed figure,
clad in red with pointy-toed shoes and a manic gleam in his immobile
eyes. No, it's not Beelzebub: it's Punch. The second international
festival of Punch and Judy is in town. Oh no it isn't. Oh yes it is,
There was an Old Man with a nose, Who said, "If you choose to
suppose That my nose is too long, You are certainly wrong!"
That remarkable man with a nose.
A Jungian Consideration of Edward Lear's Nonsense Verse Lear was, in
many ways, an example of what Jungian psychologist Marie-Louise von
Franz calls the puer aeternus,an archetype she analyzes in her book of
the same name. The term comes from Ovid's Metamorphoses and there
refers to the child-god of the Eleusinian mysteries. "In later times,"
von Franz writes,
the child-god was identified with Dionysus and the god Eros. He
is the divine youth who is born in the night in this typical
mother-cult mystery of Eleusis, and who is a redeemer. He is a
god of life, death and resurrection--the god of divine youth [.
. .] The title puer aeternus therefore means "eternal youth,"
but we also use it to indicate a certain type of young man who
has an outstanding mother complex [. . .] . (1)
Wandering, moreover, is one of the most important traits of the
Trickster archetype (Radin 167), which, as we shall see, Lear's
There was an Old Man of Peru, Who never knew what he should do; So he
tore off his hair, And behaved like a bear, That intrinsic Old Man of
There was a Young Lady whose eyes, Were unique as to colour and size;
When she opened them wide, People all turned aside, And started away
There was a Young Lady of Norway, Who casually sat on a doorway; When
the door squeezed her flat, She exclaimed, 'What of that?' This
courageous Young Lady of Norway.
There was an Old Man of Cape Horn, Who wished he had never been born;
So he sat on a chair, Till he died of despair, That dolorous Man of
There was an Old Person of Cromer, Who stood on one leg to read Homer;
When he found he grew stiff, He jumped over the cliff, Which concluded
that Person of Cromer.
There was an Old Man on some rocks, Who shut his wife up in a box;
When she said, 'Let me out!' He exclaimed, 'Without doubt, You will
pass all your life in that box.'
There was an Old Person of Bangor, Whose face was distorted with
anger! He tore off his boots, And subsisted on roots, That irascible
Person of Bangor.
There was an Old Person of Spain, Who hated all trouble and pain; So
he sat on a chair, With his feet in the air, That umbrageous Old
Person of Spain.
There was an Old Person from Gretna, Who rushed down the crater of
Etna; When they said, 'Is it hot?' He replied, 'No, it's not!' That
mendacious Old Person of Gretna.
There was a Young Lady of Parma, Whose conduct grew calmer and calmer;
When they said, 'Are you dumb?' She merely said, 'Hum!' That provoking
Young Lady of Parma.
There was an old man of Hong Kong, Who never did anything wrong; He
lay on his back, With his head in a sack, That innocuous old man of
The function of the Trickster, according to Kerényi, "is to add
disorder to order and so make a whole, to render possible, within the
fixed bounds of what is permitted, an experience of what is not
permitted" (185). Kerényi could just as well be describing the
nonsense genre that emerged in the nineteenth century.
You desire to LIVE "according to Nature"? Oh, you noble Stoics, what
fraud of words! Imagine to yourselves a being like Nature, boundlessly
extravagant, boundlessly indifferent, without purpose or
consideration, without pity or justice, at once fruitful and barren
and uncertain: imagine to yourselves INDIFFERENCE as a power--how
COULD you live in accordance with such indifference?
Contrary to the underlying Rousseauist ideology, which argues that the
profound nature of the liberated subject can only be good and that
nature itself, once emancipated, cannot but be endowed with natural
equilibrium and all the ecological virtues, there is nothing more
ambiguous or perverse than a subject.
Trickster is at one and the same time creator and destroyer, giver and
negator, he who dupes others and who is always duped himself. He wills
nothing consciously. At all times he is constrained to behave as he
does from impulses over which he has no control. He knows neither good
nor evil yet he is responsible for both. He possesses no values, moral
or social, is at the mercy of his passions and appetites, yet through
his actions all values come into being.
It is a personification of traits of character which are sometimes
worse and sometimes better than those the ego-personality possesses"
(The Archetypes 261). The Trickster is, in other words, a
manifestation of what Jung calls the shadow; and he comments: "We are
no longer aware that in carnival customs and the like there are
remnants of a collective shadow which prove that the personal shadow
is in part descended from a numinous collective figure" (ibid.262),
from, that is, the Trickster archetype.
Furthermore, the Trickster is a forerunner of the saviour, and, like
him, God, man, and animal at once. He is both subhuman and superhuman,
a bestial and divine being, whose chief and most alarming
characteristic is his unconscious- ness [. . .]. He is so unconscious
of himself that his body is not a unity, and his two hands fight each
As Jung says of the Trickster: "Although he is not really evil, he
does the most atrocious things from sheer unconsciousness and
unrelatedness" (ibid. 264).
We ought not to entertain the illusion that we might cultivate good
and happiness in a pure state and expel evil and sorrow as wastes.
That is the terroristic dream of the transparency of good, which very
quickly ends in its opposite, the transparency of evil.
- Bedre veier gir flere ulykker
The travel poems also reflect the Trickster's habit of wandering
(albeit his wandering is generally aimless). Radin comments that the
Trickster's desire to wander represents "his protest against
domestication and society with all its obligations" (140).
To what do we cling so tightly when we resist the dangers of drift?
Barthes spoke (positively) of drift as a kind of "stupidity." Are we
afraid of appearing "stupid"?
In 1642 when Oliver Cromwell's Puritan regime banned all theatrical
performance, commedia companies must have scrubbed England from their
gigging schedules. But the Punchinello character appears to have hung
in. Cross-pollinated with the local Vice character - originally the
trickster fool of the Mystery plays - Punch utilised Harlequin's
slapstick bat, took a wife and resurfaced in the Punch and Judy puppet
Puck/Punch? : Santa/Pelznichol/Nicholas/Janney/Yule? I Norge har vi
oskoreia og julebukker - "they acted out an odd play ? the leader, who
dressed in goat or bear skins, argued with another character or with
the woman figure. He was killed, the woman lamented, and the doctor
comically resuscitated him, or he spontaneously revived, declaring he
wasn't dead after all" "the Fool was in his original beast form; the
death and execution were enacted amorally. In later plays, the Fool or
beast-man is often killed by a young groom because he "makes a pass
at" the Woman, and narrators explain the behavior with a comic
script." "Scholars concluded that the hundreds of versions peppering
Europe could be traced to the great goat-god Dionysus. After all, the
Dionysian rites gave birth to modern theater" "In Britain, he became
Robin Goodfellow or Puck [norsk slekt:puk?], celebrated by
Shakespeare; Goodfellow's cousin Robin Hood began life as Wood, a name
for the Wild Man. In the Black Forest, the Pied Piper of Hamelin re
enacts poet Robert Browning's version of the ancient mystery." And
don't forget the 'geek' as a freak act.
Shiva is more or less what you want him to be, as in him all
contradictions casually coexist. The notion of Shiva as exclusively a
Wild Man of the forests and mountains, traveling with a band of ghosts
and ghouls as their leader, Bhoothnath, is a recent phase of his
worship. For while he was always capable of peculiar behavior, Shiva
used to live outside of society not because he had rejected it but
because he had transcended it. Shiva is repeatedly described as the
supreme master of all the arts, and that indicates a highly socialized
being, the Nagarika of ancient India, not a rustic.
Only Siva, who indulges in both extreme ascetic and extreme erotic
activity, the creator and the destroyer, the quiescent and the active
god, who represents both the cyclical motion of the universe and
spiritual immortality can offer devotees both paths of immortality
through rebirth, or renunciation and spiritual immortality. He is the
living lingam in the yoni, and the androgyne. Both symbols contain the
paradox within themselves and provide a resolution.
Lingam, Sanskrit, literary 'mark' or 'sign' (- is there a connection
between 'sign' and 'seed' (seme and semen)? via sema, seme, sememe
semiological adj.[Gk semeion sign f. sema mark], seminal, symbolic
inseminal, pregnancy - pregnant expression...)
Shiva is worshipped in several apparently contradictory aspects, whose
combination gives emphasis to his incomprehensible transcendence. He
is seen as a giver of blessings, and is also a symbol of sensuality,
represented by the lingam or phallus. On the other hand, he is
sometimes depicted as an ascetic, seated in meditation in the
Himalayas. Shiva is also the god of destruction and dissolution. In
his manifestation as Shiva Nataraja, the four-armed Lord of the Dance,
he tramples on the forces of ignorance and chaos, and keeps creation
>From Orphee To Punch - Worlds Apart
They should also contain a 'shadow' who causes disruption. In Punch
and Judy (1966) the shadow is Punch himself, in The Mask or Orpheus
(1973-83) Aristeus, the man who lusts after Euridice and causes her
death, in Yan Tan Tethera (1983-4) the Piper, the Bad 'Un.
The death of Euridice occurs five times, that of Orpheus four times.
Other cyclic events include the stories Orpheus told to the trees and
rocks, and glimpses of an esoteric Orphic ceremony. As in Punch and
Judy, the shadow is a character on stage
The impossibility as that of jumping over your shadow when you don't
have one. It's a metaphysical leap which is beyond us. Peter Schlemihl
had at least sold his shadow to the devil; ours we have simply lost.
This is because we have, in the meantime, become entirely
transparent... the atomic shadow, is the only left for us: not the
sun's shadow, nor even the shadows of Plato's cave, but the shadow of
the absent, irradiated body, the delineation of the subject's
annihilation, of the disappearance of the original.
Punch siungs meanwhile 'Home, sweet Home.' (This is original). The
Ghost represents the ghost of Judy, because he's killed his wife,
don't you see, the Ghost making her appearance; but Punch don't know
it at the moment. Still he sits down tired, and sings in the corner of
the frame the song of 'Home, sweet Home,' while the Sperrit appears to
"Though you've such a tiny body, "And your head so large doth
Heads also play a major role in Hoban's novels: Pilgermann (the tax
collector and several hundred Turks and Crusaders, decapitated);
Kleinzeit and The Medusa Frequency (Orpheus, decapitated; Medusa and
the Kraken as snaky heads);
"Though your hat may blow away, "Mr. Yonghy-Bonghy-Bò!
"Though you're such a Hoddy Doddy-- "Yet I wish that I
could modify the words I needs must say! "Will you
please to go away?" (312)
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THE TRAGICAL COMEDY,
PUNCH AND JUDY
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NOEMATA PUNCH AND JUDY SHOWS (BEMYGHOST).
SENTRUM POLICE DISTRICT, Oslo, April 2003
MAJORSTUA POLICE DISTRICT, Oslo, April-May 2003
ATELIER NORD/NORW.CULT.COUNCIL, Oslo, 8.-9. May 2003
MAILINGLIST PORT 110, http://kunst.no/pipermail/110/
MAILINGLIST E-KUNST, http://e-kunst.no/postlister/info/e
NOTES AND LINKS.
HTTP://WWW.PUNCHANDJUDY.COM/SCRIPT1.HTM - A MODERN SCRIPT
THE SPECTRE OF JEAN BAUDRILLARD'S `IMMORTALITY´
CHAINED AND UNCHAINED FRAGMENTS OF FOUND TEXTS
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