images courtesy of lisa furness
the feel of reverse – some questions about time as betrayed in performance
Manipulating ‘time’ has become one of the challenges of creating If Destroyed Still True. As part of the Interval open weekend at Interval, 31 College Green, we recently performed a epi-prologue to the piece that unwound key motifs and placed them in a reverse sequence. At midnight, audience, gathered by the door, met a stranger. This stranger, then moving backwards, as if in reverse, began to guide them, by a single light into the darkness.
does time get quicker before you die? How does this affect the pulse of the awakening moments, in our piece? In the midnight showing, the natural flopping of the freshly killed body is inverted and the performer must move from relaxed to tense.… Read on...
I’m very excited to be able to say that we finally have a copy of the ERMAZING “Der Todesking” winging its way towards us…
No other film director, perhaps with the exception of Bunuel, captures “the epic decaying image” or the tableau mort to the extent we are using for our piece. His use of these setups to explicate the differences between living and dead are useful to us; and his films hint to the connectedness beyond physicality, even through it into viscerality, that we are also trying to create in our piece.
The often clear demonstrative process used by the film-makers and the phoneyness of the props and actions interests us too:
plus the exquisite music of Hermann Kopp
Unfortunately, its very difficult to get hold of “Schramm” – another classic Buttgereit film – so here’s some trailers:
BEWARE DO NOT WATCH IF SQUEAMISH
you might want to avert your eyes at the end
audio optional on this one
http://www.youtube.com/watch?v=R3605pjad8c… Read on...