Last night, I had a dream. It was in the form of a play, theater of the absurd, I think it is called. Anyways, I was sitting there next to Dr Katz, who was explaining all this stuff in the play to me, because I am way too dumb to understand this stuff myself. The play took place on the Merion golf course 18th green at midnight, in total darkness. The audience was crowded around the green, US Open style. There was a chorus of actors reciting long sillogisms explaining a tragic event. The props swung into the stage from out of the darkness, only illuminated when they reached to green center. The spot lights shifted from one chorus actor to the other to the props, which were maniquins of MacDonald and Wilson. So, because I'm not too literary at all, I went to Wikepedia to look up what a tragedy was. And then I fit the relevant pieces of the dream I had.. here in brackets is what I came up with...
Greek tragedy contains seven components: plot, [WAS THE DESIGN AND CONSTRUCTION OF MERION THE PRIMARY RESULT OF A FOCUSED COMMITTEE EFFORT LED BY H. WILSON, WITH SOME ADVICE AND COUNCIL OF OTHERS] characters, [MacDONALD, WHIGHAM, TILLINGHAST, HUGH AND AL WILSON], a chorus, [TOM PAUL, DAVID MORIARITY, PHIL YOUNG, MIKE CIRBA, ANDY HUGHES, DAVE SCHMIDT] thought, [THE TEXT OF A 1000 PAGES OF GCA.COM TO BE READ BY THE CHORUS AS IT HAPPENED ON THE THREAD] diction, [HIGH ENGLISH CIRCA 1900] music, [KENNY G. SOUNDTRACK PLAYING IN BACKGROUND] and spectacle. [THE PLAY STAGE SET ON THE 18TH HOLE Of MERION, IN THE DARKNESS OF THE MIDNIGHT HOUR, WITH SPOTLIGHTS TO SHINE ONLY ON THE CHARACTERS AS THEY ENTER AND THE CHORUS AS EACH ACTOR SPEAKS] these plot is the most important. According to Aristotle, "the plot is the soul of tragedy." Plot is communicated to the audience primarily by means of words. [THAT WE HAVE ENOUGH WORDS ON THIS THREAD TO LAST TILL DAWN, THERE IS NO DOUBT]
A favorite theatrical device of many ancient Greek tragedians was the ekkyklêma, a cart hidden behind the scenery which could be rolled out to display the aftermath of some event which had happened out of sight of the audience. [THE LOST LETTERS AND MANUSCRIPTS OF ALL THE DEAD ARCHITECT GUYS DESCRIBING THE BUILDING AND FOUNDING OF MERION] This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. [THE ACCUSATION THAT WILSON WAS NOT THE SOUL AND INSPRIATION AND CREATOR OF MERION GOLF CLUB] Another reason that the violence happened off stage was that the theatre was considered a holy place, [THE MERION GOLF COURSE] so to kill someone on stage is to kill them in the real world. [DETRACTION OF WILSON’S REPUTATION IN FAVOR OF MACDONALD’S INVOLVEMENT, A SHAMELESS ACT OF FALSE REATTRIBUTION OR THE RECLAMATION OF WHAT WAS RIGHTFULLY MACDONALD’] A prime example of the use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia, when the king's butchered body is wheeled out in a grand display for all to see. [WILSON DOLL IS WHEELED OUT WITH A BLOODY KNIFE IN HIS BACK] Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. [GOLF CLUB ATLAS THREADS INTO INFINITY DEBATING HOW MANY ANGELS CAN DANCE ON THE HEAD OF A PIN] Another such device was a crane, the mechane, which served to hoist a god or goddess on stage when they were supposed to arrive flying. [STATUTES OF THE GHOST OF MACDONALD AND WILSON COME FLYING IN FROM THE OFF STAGE DARKNESS, HOISTED ON STEAMSHOVEL BANKS’S CRANE] This device gave origin to the phrase "deus ex machina" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. [WHEN WILSON APPEARS FROM THE DARKNESS HOISTED ON THE CRANE, HE HAS A PASSENGER MANIFEST PINNED TO HIS LAPEL] Greek tragedies also sometimes included a chorus composed of singers to advance and fill in detail of the plot. [OH, WE HAVE A CHORUS OF THESBIANS(sic) HERE, ALL WITH ELOQUENT SYLOGISMS TO BE READ AS THE BODY OF THE PLAY]