Picture – Albert Einstein standing on a rock stepping-stone, enjoying grabbing some sun at the sea shore (1945). Oh! … the sea shore. By the way, Mr. Einstein, what lovely sexy shoes you have!

[…] Einstein always appeared to have a clear view of the problems of physics and the determination to solve them. He had a strategy of his own and was able to visualize the main stages on the way to his goal. He regarded his major achievements as mere stepping-stones for the next advance. […] In his early days in Berlin, Einstein postulated that the correct interpretation of the special theory of relativity must also furnish a theory of gravitation and in 1916 he published his paper on the general theory of relativity. During this time he also contributed to the problems of the theory of radiation and statistical mechanics. […] After his retirement he continued to work towards the unification of the basic concepts of physics, taking the opposite approach, geometrisation, to the majority of physicists. […] (source Nobel prize org.)

Einstein on the Beach : Philip Glass / Robert Wilson, 1976.

[…] Einstein on the Beach (1976) is a pivotal work in the oeuvre of Philip Glass. It is the first, longest, and most famous of the composer’s operas, yet it is in almost every way unrepresentative of them. Einstein was, by design, a glorious “one-shot” – a work that invented its context, form and language, and then explored them so exhaustively that further development would have been redundant. But, by its own radical example, Einstein prepared the way – it gave permission – for much of what has happened in music theater since its premiere. Einstein broke all the rules of opera. It was in four interconnected acts and five hours long, with no intermissions (the audience was invited to wander in and out at liberty during performances). The acts were intersticed by what Glass and Wilson called “knee plays” – brief interludes that also provided time for scenery changes. The text consisted of numbers, solfege syllables and some cryptic poems by Christopher Knowles, a young, neurologically-impaired man with whom Wilson had worked as an instructor of disturbed children for the New York public schools. To this were added short texts by choreographer Lucinda Childs and Samuel M. Johnson, an actor who played the Judge in the “Trial” scenes and the bus driver in the finale. There were references to the trial of Patricia Hearst (which was underway during the creation of the opera); to the mid-’70s radio lineup on New York’s WABC; to the popular song “Mr. Bojangles”; to the Beatles and to teen idol David Cassidy. Einstein sometimes seemed a study in sensory overload, meaning everything and nothing…  […] (continues) [source ]

KNEE 5 | KNEE PLAY CHARACTER 1 : Numbers and Mr Bojangles /  KNEE PLAY CHARACTER 2 : Text from Knee Play 1 / BUS DRIVER : Lovers on a Park Bench

1,2,3,4… 1,2,3,4,5,6, …,1,2,3,4,5,6,7,8,… 1,2,3,4… 1,2,3,4,5,6, …,1,2,3,4,5,6,7,8,… 1,2,3,4… 1,2,3,4,5,6, … 2,3,4, … 1,2,3,4, … 1,6 …

Two lovers sat on a park bench with their bodies touching each other, holding hands in the moonlight. There was silence between them. So profound was their love for each other, they needed no words to express it. And so they sat in silence, on a park bench, with their bodies touching, holding hands in the moonlight. Finally she spoke. “Do you love me, John ?” she asked. “You know I love you. darling,” he replied. “I love you more than tongue can tell. You are the light of my life. my sun. moon and stars. You are my everything. Without you I have no reason for being.” Again there was silence as the two lovers sat on a park bench, their bodies touching, holding hands in the moonlight. Once more she spoke. “How much do you love me, John ?” she asked. He answered : “How’ much do I love you ? Count the stars in the sky. Measure the waters of the oceans with a teaspoon. Number the grains of sand on the sea shore. Impossible, you say? “, (text by Samuel Johnson).