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Unfortunate

#Spotify

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#Spotify

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We’ll post some more of my work later

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you. american adult with a drivers license. can you tell me who has the right of way at a 4 way stop

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The underground Goncharov re-enactments of the 1980's would would see a resurgence in the new millennium, as amateur bit-comedy and homemade video slowly took off during the era of early internet. While oral history abound, the publication of The Dark and Gilded Stage (2005) by Simone Amira, a former manager of The Gazelle theatre club in Soho, saw unofficial stage plays finally re-enter the community consciousness.

In the mid-00’s, university drama club stagings would heavily satirise the machismo culture of the mafia genre; actors would gender-flip the script, double-cast the characters, even change the locations to play out their interpersonal crime drama in absurdist time-displaced settings. The Naples mafia would be traded for the gangsters of Victorian London, the triads of 70's Hong Kong, or the yakuza of Tokyo.

However, it was the work of Luton playwright Samantha Krycek that brought the Goncharov stage adaptations to the serious attention of the theatre and academic elite. Twelve Hands of the Clock (2009) was a bold, experimental work that took inspiration from the queer undertones of Terence McNally’s Corpus Christi and the absurdism of Dead Centre’s Chekov’s First Play.

Twelve Hands of the Clock puts Goncharov, Andrey, Katya, and Sofia into a time loop where they are forced to act out the last twelve minutes of the film, several times in a row. Each loop lets one character become self-aware of their fate as narrative prisoners while the audience, both innocent onlookers and apathetic bystanders in tragedy, are forced to bear witness to their desperate attempts to escape the narrative. Faced with the sudden knowledge that their actions are inconsequential to their fate, each character breaks out of their story in successively more brazen ways. First loop, Katya shoots Goncharov. Third loop, Sofia saves Katya. In the fifth loop, Andrey confesses his love and kisses Goncharov within the first minute, and they spend the remaining time talking about their future away from the mafia. The next loop, Andrey has forgotten the conversation, but Goncharov remembers. In the penultimate loop, Goncharov saves himself, kisses Andrey, kisses Katya, and then leaves them both to die. Then, finally, the last loop follows the film's ending down to every beat, the story snapping back into place. The play makes a show of buckling to the relentlessness force of tragedy — the characters cannot save themselves, but in the liminal space of twelve minutes, they are allowed to find a brief moment of respite. Goncharov gets to live before getting shot. Andrey saves his friend before he has to kill him. Sofia gets to leave before she is dragged back. Katya survives her wounds before dying. Each loop has no effect on the next, but their brief moments of agency matters in spite of it. A 2010 recording of Twelve Hands of the Clock on during run at London's Union Theatre took the internet by storm. Discussions, then backlash, soon followed. Heated debates were held by literature critics on the play’s portrayal of interpersonal relationships, while film enthusiasts railed against the perceived parody of a mafia genre masterpiece. Twelve Hands of the Clock was always intended to an homage to Goncharov’s historical legacy amongst the the queer community, making direct references to the culture of collective storytelling of the 80’s underground theatre. However, this was first time queer interpretations of Goncharov was brought into the popular consciousness and distributed to a larger, mainstream audience. Unable to control its reception and decontextualised from history, it found itself as point of contention, its sincere and emotional queer tragedy reduced to a punchline by late-night comedians and the early internet.

In subsequent years, however, Twelve Hands of the Clock gained a small but loyal following. While most of its fans admit to being indifferent to the mafia film as a genre, they see the production as a metaphor for queer community — internal to the text, the play’s time loop is about the sacredness of queer safe spaces. Metatextually, its reception is a cautionary tale about safekeeping queer culture.

Francine Rubek and Samson Jian, Under the Queer Gaze (2014, Palgrave Macmillan)

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Wow!

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been rereading dark continent for the new chapters and i still can’t believe this is real

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NEW OFFICIAL ART ALERT NEW OFFICIAL ART ALERT

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Zdzisław Beksiński (1929-2005)

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#this post was fact checked by real american patriots #true

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#hostagekiller

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preserving this video at all costs to teach future generations what twitter was like

EDIT: About a billion people asked me where they can buy the soundtrack to this. I love you guys + I'm so glad you like my silly music. Working on a bandcamp ep with bonus stuff ASAP

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spotify i will end you <3

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“Take care, Andrey. You never know when your time could run out.”

GONCHAROV (1973) Dir. Martin Scorsese

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saying beenis 3 times out loud in a mirror and i am immediately isekai’d into a whimsical-ass fantasy BL by the department of woodland fairies and assorted wildlife

winderful things abound whrn u say the word penis like this: beenis

Okay

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my reaction to that information