Today I met with Sarah Timberlake,  my fine costume-maker, in the garment district. Looking for fabrics is one of my favorite activities. We found a white stretch jersey material which lies along the whole body like a glove, for Andrea’s costume for the”screen dance” section of Spirit In The Flesh, in which she “becomes” a  screen, wielding a large piece of material as she flows back and forth across the screen images, lit only by the projector. A human screen. The images seem to come out onto the stage and dance not only on her but with her. Andrea’s “screen dance” becomes the integrating force of the Shekhina, uniting a collage of Leonard’s images even as they dissolve into movement. One of Nimoy’s – and our –  Shekhina’s attributes is to unite opposites without judgment. What is sacred; what is profane? An anonymous text from Nimoy’s book  is called “Thunder: Perfect Mind.” It is from an ancient manuscript found in Egypt in 1945. The narrator is the voice of  an omniscent female power who seems to be  Semitic and Egyptian and Greek:

“I am the first and the last . . . I am the honored one and the scorned one . . .I am the whore and the holy one . . .I am the mother and the daughter . . . I am the union and the dissolution . . . i am the one who cries out, and I listen.”


~ by cinemabody on January 7, 2009.

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