Spring 2024
The story of Amelie Bauer, an Austrian rising star leftist politician who operated in the 1980s. She was often referred to as “The most radical leftist leader in the world.” Her political ideology fused classical Marxist and Socialist doctrines with new-age practices mixed with the popular sounds of the happy Neo-Liberal 1980s. Her brand of the ‘new left’ filled even the most trite political thought with sex, death, and violence.
Spring 2024
The story of Amelie Bauer, an Austrian rising star leftist politician who operated in the 1980s. She was often referred to as “The most radical leftist leader in the world.” Her political ideology fused classical Marxist and Socialist doctrines with new-age practices mixed with the popular sounds of the happy Neo-Liberal 1980s. Her brand of the ‘new left’ filled even the most trite political thought with sex, death, and violence.
t.b.a.
A performance about death, the industry of death, the poetry of death, and the representation, or the impossibility of the representation of death in performance and theatre.
As I Lay, Sort of, Dying is not an adaption of William Faulkner’s masterpiece. It borrows the structure of the novel, the technique, the spirit, and the way language is used in the book to tell the Rashomon of death in our current society.
t.b.a.
A performance about death, the industry of death, the poetry of death, and the representation, or the impossibility of the representation of death in performance and theatre.
As I Lay, Sort of, Dying is not an adaption of William Faulkner’s masterpiece. It borrows the structure of the novel, the technique, the spirit, and the way language is used in the book to tell the Rashomon of death in our current society.
t.b.a.
When a theatre audience looks at a realistic set, how does he or she interpret the room? Is it a forbidden place? Are the walls just obstacles one can walk through or ignore? Think of Nora and the famous door. Think of Chekhov and the house and all the interpretations of his plays in a traditional and classical manner. According to Aviv Kochavi, a brigadier general in the IDF, we are looking at it from the wrong perspective. It is time for us to go through the set.
Future military attacks on urban terrain will increasingly be dedicated to the use of technologies developed for the purpose of ‘Un-walling the wall,’ to borrow a term from Gordon Matta Clark.
The desire to unveil and go beyond the wall could itself explain the military interest in transgressive theories and art from the 1960s and the 1970s.
In Remodeling Mayhem, center stage will be a cut/section of a house. A realistic house, a piece of set that can serve many so-called ‘slice of life’ kinds of plays.
We will then go to work, dismantling the house, the walls, and the set. We will conduct a forensic investigation into the theory, the practice, and the army doctrine of ‘walking through walls’, using all the tools at our disposal – video, audio, published text, interviews, reenactments of documentary material, and fictionalized scenarios.
t.b.a.
When a theatre audience looks at a realistic set, how does he or she interpret the room? Is it a forbidden place? Are the walls just obstacles one can walk through or ignore? Think of Nora and the famous door. Think of Chekhov and the house and all the interpretations of his plays in a traditional and classical manner. According to Aviv Kochavi, a brigadier general in the IDF, we are looking at it from the wrong perspective. It is time for us to go through the set.
Future military attacks on urban terrain will increasingly be dedicated to the use of technologies developed for the purpose of ‘Un-walling the wall,’ to borrow a term from Gordon Matta Clark.
The desire to unveil and go beyond the wall could itself explain the military interest in transgressive theories and art from the 1960s and the 1970s.
In Remodeling Mayhem, center stage will be a cut/section of a house. A realistic house, a piece of set that can serve many so-called ‘slice of life’ kinds of plays.
We will then go to work, dismantling the house, the walls, and the set. We will conduct a forensic investigation into the theory, the practice, and the army doctrine of ‘walking through walls’, using all the tools at our disposal – video, audio, published text, interviews, reenactments of documentary material, and fictionalized scenarios.