Gorf, or Gorf and the Blind Dyke

Readers of Michael McClure's play Gorf may be reminded of Alfred Jarry's LJbu Roi, even if dancing TV sets and the "Middle American" protagonists Mert and Gert bring the surreal effect down to native ground. On another level, Gorf is a ritual of regeneration, or, if you like, a kind of spiritualized Hellzapoppin. The "murdered" Mert and Gert are reborn in the search for their child, the Shitfer, who disintegrated when "hurled through Time and Space," is resurrected as his discrete "pieces" find and recognize their unity. And presiding over all is Gorf himself - the flying purple phallus, the cosmic joke and l|fe principle. "Our fantasies", McClure explains, "when they are enacted, open infinite doors. A play may help us be what we truly are by showing us the possibilities of action." And John Lion, who conceived and produced the widely acclaimed 1974 Magic Theater production of Gorf in San Francisco, adds in his introduction that "man's capacity for renewal and rebirth is

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