 | "Fin Demonium Razz" is the brainchild of Cassandra von Braun All material copyright by Cassandra von Braun ALL RIGHTS RESERVED |
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S Y N O P S I S Figurative elements operate within the dreamlike vignette of a theatrical company who have come to the house where props and sets are stored to pack what they need for a show they are taking on the road, but the river is flooding and they wonder if they are to be stranded. While contemplating their escape, they rehearse numbers from the age of empire, and "Carmen." An act of metaphysical iconoclasm, "Fin Demonium Razz" sends up late Twentieth Century gender relations, bypassing the intellect in favor of a direct application to the psyche. The distinctions between an oral and a written tradition crumble as we explore whether it may be unnecessary to fully understand a conundrum in order to unravel its mittens.
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Proceeding from the Taoist observation that human beings cannot rise above animal nature by repressing sexuality, we offer the lyric "Tata, Bulla Razz," as an invitation to la table erase. Thus departing, with our affection for Jean Jacques Rousseau's idea of ourselves as noble savages flaring hopefully within our hearts, the company begins to explore the psychosexual dynamics of "Carmen" that we love so well (evinced by the fact the work is virtually ubiquitous throughout all the realms where human slaughter is celebrated in song and dance) with an as yet undiscovered new ending (perhaps a nice divorce).
"Fin Demonium Razz" wreaks multidimensional cogitation out of the carnage of love among the druids (or at least their designated scions).
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