[NOTE: as people post their source material on the blog, let's use the label "SOURCES" at the bottom.]
Here are some sources I'm thinking about:
Elie Wiesel: Night
Ursula K. LeGuin: Lathe of Heaven. You can watch a clip from the 1980 PBS movie here.
Andrei Tarkovsky: Solaris, also maybe Mirror/Zerkalo... check out this triiiippy clip:
Guy Madden: Twilight of the Ice Nymphs (wish I could find a clip of this)
Madeleine L'Engle: A Swiftly Tilting Planet. Ooh, listen to this NPR interview with Madeleine L'Engle about A Wrinkle in Time.
Joni Mitchell: Amelia
skip to main |
skip to sidebar
We are in a place and time when we don’t really know who we can trust. There’s something scary and supernatural playing out in regular life. You can’t see it, you can’t prove it, but you know it’s there. What would it mean to escape the anxiety of your own mind into a different reality? You would need to find a place to escape to. A beautiful pink world, a snowy world, the coldness of the desert, the emptiness of space and a little blue dot. What a beautiful thing to be isolated in a vast landscape, filled with wonder, and you don’t feel lonely at all.
Hand2Mouth presents a speculative performance in 4D. It’s more magical if you don’t know how it works.
Uncanny Valley mandate:
Let’s play with the audience’s memories and with our own memories, and use the mechanism of live theatre to identify and explore memory as the very essence of what makes us human.
Theatre is a time-based art, a memory machine, let us use it not to show or tell, but to strive for the impossible goal of manipulating and inhabiting memories on stage with an audience. Let us do this to spark our own memories, and to trigger those of the audience, in order to provoke reflection about the slipping away of time, and the relishing of present moments that will soon become past memory. Let us do this in a kickass psychological, sonic, poetic, and physical way that can only be done onstage via song and spectacle.
In Uncanny Valley, we create a radically new theatre experiment that is based on the process and intoxication of the phenomenon of memory.
EVOLVING CONCEPT (now outdated)
Let’s play with the audience’s memories and with our own memories, and use the mechanism of live theatre to identify and explore memory as the very essence of what makes us human.
Theatre is a time-based art, a memory machine, let us use it not to show or tell, but to strive for the impossible goal of manipulating and inhabiting memories on stage with an audience. Let us do this to spark our own memories, and to trigger those of the audience, in order to provoke reflection about the slipping away of time, and the relishing of present moments that will soon become past memory. Let us do this in a kickass psychological, sonic, poetic, and physical way that can only be done onstage via song and spectacle.
In Uncanny Valley, we create a radically new theatre experiment that is based on the process and intoxication of the phenomenon of memory.
EVOLVING CONCEPT (now outdated)
Hand2Mouth presents a speculative performance in 4D. It’s more magical if you don’t know how it works.
CONTENT
- Anxiety & loneliness
- Escapism
- Creating specific new worlds -- multiple realities
- Primitive/everyday/simple vs. Technological/supertech/complicated
- Technology & tools: simple / complicated, human relationship, incredible things it allows to happen.
- Fundamental humanity, human-ness -- focusing on this, not on the aliens
- Little Prince
- Pregnancy
FORM
- Episodic structure: what links the worlds is slowly / surprisingly revealed
- Throughline, elements or journey that links stories
- Creating specific new worlds -- multiple realities
- Sensuality, hyper visual, trippy
- Pushing to a level of intensity, proficiency (physically, performatively)
- Extremes of quiet, extremes of loud -- dychotomies between different extremes
- Bending reality -- bread skitters across table
- Surprising audience: sudden reveals, cliffhangers, messing with expectations
- Grand opera
- Anxiety & loneliness
- Escapism
- Creating specific new worlds -- multiple realities
- Primitive/everyday/simple vs. Technological/supertech/complicated
- Technology & tools: simple / complicated, human relationship, incredible things it allows to happen.
- Fundamental humanity, human-ness -- focusing on this, not on the aliens
- Little Prince
- Pregnancy
FORM
- Episodic structure: what links the worlds is slowly / surprisingly revealed
- Throughline, elements or journey that links stories
- Creating specific new worlds -- multiple realities
- Sensuality, hyper visual, trippy
- Pushing to a level of intensity, proficiency (physically, performatively)
- Extremes of quiet, extremes of loud -- dychotomies between different extremes
- Bending reality -- bread skitters across table
- Surprising audience: sudden reveals, cliffhangers, messing with expectations
- Grand opera
- PROUST
Swann's Way [1922]- Within a Budding Grove [1924]
- The Guermantes Way [1925]
- Cities on the Plain [1927]
- The Captive [1929]
- The Sweet Cheat Gone [1930]
- Time Regained [1931]
links
Labels
- About Sci Fi (3)
- choral (5)
- collaborators (1)
- costumes (9)
- design (13)
- doubling (1)
- dramaturgy (2)
- Freud (1)
- hocketing (1)
- homework (4)
- Jodorowski (2)
- marvin carlson (1)
- Maya Deren (2)
- memories of southern childhood (1)
- memory (7)
- meredith monk (1)
- music (15)
- new song (2)
- notes (13)
- Proust (2)
- robots (1)
- scenic (1)
- Set (1)
- sources (23)
- Tarkovsky (4)
- text (10)
- the uncanny (4)
- titles (2)
- women in white dresses (1)
0 comments:
Post a Comment