Viewing page 39 of 70

This transcription has been completed. Contact us with corrections.

infect all the semiotic domains of the canvas and celebrate a culture without romanticizing it.

By way of a conclusion, I found myself casting about for a comparison that might illuminate Mel Casas' peculiar combination of suave aesthetic, intellectual acrobatics and egalitarian politics, and despaired of finding one until I chanced to flip the television to a filmed performance of the "Major Barbra" in one of those low-grade, medium-wattage epiphanies critics are prone to under deadline, I realize I had stumbled upon a true compadre for Mel Casas. In the person of Bernard Shaw, the bi-cultural Irish-English intellectual, with and playwright, I had found another artist dedicated to channeling all of his craft and intellect toward changing the oppressive status quo, and just as equally dedicated to not getting all mopey about the sorry state of the affairs in which the world perpetually finds itself. In fact, there is a passage in a Desmond McCarthy review of a Shaw play that pretty much characterizes the source of my affection and respect for Mal Casas as a man and artist. "All through Bernard Shaw's work," McCarthy notes, and I would say the same for Mel Casas. 

there plays perpetually a little fountain of irrational gaiety; I am inclined to think it is his distinguishing characteristic. I call this gaiety of spirit 'irrational' because it is quite unaffected by his conclusions or by events. How refreshing it is in hot debate, how cooling to the swollen solemnity of passion how exhilarating to watch! (I prefer myself to drink courage at a spring of laughter than to get 'dutch courage' from a swig at anger's brandy bottle)