Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
612-822-4611

  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Nothing is More: a High Black Comedy in Verse with Music for Six Actors

Nothing is More: a High Black Comedy in Verse with Music for Six Actors

Noland, Gary Lloyd
Dylan, Lon Gaylord
Landon, Dolly Gray

Paperback

Humor

ISBN10: 1795387513
ISBN13: 9781795387514
Publisher: Independently Published
Published: Jan 29 2019
Pages: 218
Weight: 1.14
Height: 0.46 Width: 8.50 Depth: 11.00
Language: English
Landon's subversively hilarious six-hour play is a high black comedy in doggerel verse with music for six fiercely opinionated and outspoken characters with radically different perverspectives apropos of what constitutes art, ranging from the commercially pragmatic to the philosophically effete. The opinions expressed are in no ways frivolous but evolve into transcendental matters verging on Life and Death. The setting is Pimpleton State Luniversity, which offers a post-doctoral degree called a stool for scholars specializing in absurdly arcane areas of research (e.g., Primaeval Linguistics, Feline Transgender Studies, and Astromusicology). Amongst the stool program's leading contenders is a bombastically pretentious charlatan named Phangbang Bonation, who is the prolific progenitor of a post-postmodernist aesthetic known as Nadaism, which espouses the submicrominimalist credo that producing zilch (i.e., nothing at all) is a legitimate form of artistic expression. This deranged ideology draws a huge cult following amongst critics of all artistic genres and earns Phangbang untold wealth in the sales (thru auctions) of various non-opuses from his Nadaistic oeuvre. Two of his fellow stool candidates-Pelvin Penisovich and Purvel Schlignatz-are so violently repelled by Phangbang's grandiose pretensions (especially subsequent to his diverting the amorous attentions of their main squeezes exclusively to himself), that they spare no effort in forging an elaborate scheme to expose him for the cunning impostor they adamantly believe him to be in the hopes of not only irrevocably invalidating him and his cockamamie ideas about art but also of obliterating him and his Nadaistic movement from the face of the earth. Notwithstanding the foregoing, nothing turns out the way Pelvin and Purvel envisioned it ought to have subsequent to carrying out their nefarious enterprise, as they learn, to their utmost dismay, that they have unwittingly opened a whole new (and even more appalling) Pandora's box of depraved theoretical dogmas as to what constitutes an authentic form of creative expression. Thus, their foiled attempt to subvert what they perceive as the unholy aesthetic crusade of their rodomont adversary ends up backfiring upon them in the form of a new post-postmodernist school of thought that blindly enthused critics coin as revisitationism, which engenders in its turn the unleashing of a plague of criticastically acclaimed, up-to-the-minute, pseudo-artistic horrorshows all across the land. The following caveat should not be construed as a spoiler alert but rather as a friendly heads-up to prospective explorers of this text. Readers and audients are duly advised of the very palpable likelihood that they will be rendered speechless-even dumb-when they find out what the aforementioned revolutionary artistic innovation embodies. Be forewarned: This play is not intended for weak-kneed invertebrates or the squeamish of heart.

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