Who are you? Where did you come from? Not: Where are you coming from?
I began my adult writing career as a playwright, in the heady days of the alternative theatre of the late 60s-early 70s. Guerrilla theatre is provocative. Language is contentious and in your face, not the least subtle. At the same time, I wrote and acted in a touring children’s puppet company. Though subtle language was, again, not a top priority, puns were appreciated –if bad and pointed enough. But highly imagistic and evocative language was important. As I played the villains, I had great gobs of opportunity for putting language to use, especially with the florid improvisation as found in commedia dell’arte: certain bits of business and words and phrases were set; whatever happened in between was up to us. Actually, it was up to the audience; their response to what we did dictated how the play moved and developed. All along the way, like roadside kudzu or aloe vera, I wrote social satires. All were absurdist. Here, puns and double entendres and outré or extended metaphors are the norm; but they depend on the situation, the context. Social satire is intended to upset or arouse the audience.