tag:blogger.com,1999:blog-8686552427673593792024-02-01T22:54:34.545-08:00The Ian Picco Theatre ExperimentA documentation of the current theatre and performance art work created, directed and performed by Ian Piccoian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-868655242767359379.post-19309505997678268772009-01-31T09:17:00.000-08:002009-01-31T09:19:52.421-08:00Astronome Production BlogHere is my new post. <a href="http://ontologicalhysteric.blogspot.com/2009/01/on-magic-esoteric-knowledge-and.html">On Magic, Esoteric Knowledge and Transmutation.</a>ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1tag:blogger.com,1999:blog-868655242767359379.post-62322908305913194122009-01-05T21:38:00.000-08:002009-01-30T14:35:29.628-08:00The Ontological-Hysteric Theatre as Satanic Ritual?<span class="Apple-style-span" style="font-size:medium;">In my late night online wanderings I've been doing a little reading up on Satanism* and the philosophy of Anton Szandor LaVey, author of the Satanic Bible and founder of the Church of Satan, and I couldn't help but draw some uncanny comparisons between the Satanic Ritual known as Black Mass and Richard Foreman's Ontological-Hysteric theatre.</span><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">We can start with the term that Satanists use for their </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:medium;">place</span></span><span class="Apple-style-span" style="font-size:medium;"> of ritual. They call it an "Intellectual Decompression Chamber," which simply means a place where one willfully enters into a state of </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size:medium;">conscious suspension of disbelief</span></span><span class="Apple-style-span" style="font-size:medium;">, for the purpose of achieving magical ends. LaVey says that it is necessary for one to be completely unburdened by "conscious intellectual critique" to truly achieve this kind of powerful magic. </span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">This idea of an "Intellectual Decompression Chamber" bares a lot of resemblance to Foreman's sort of theatre, which tends to appeal to ones' senses or psyche rather than ones' intellect. And is it only coincidence that for the past decade Foreman's plays have been created and performed inside a Cathederal?</span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">Aesthetically, Forman's plays share a lot in common with the rituals performed by the Church of Satan. Or is it that the members of the church just happen to be the kind of people who are </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:medium;">also</span></span><span class="Apple-style-span" style="font-size:medium;"> attracted to real theatre? Peter Gilmore, the current High Priest of the Church of Satan, said in an interview with the History Channel that the performed rituals of the Church are often theatrical in nature, and that in fact it's the </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size:medium;">theatricality</span></span><span class="Apple-style-span" style="font-size:medium;"> of the iconography of the Christian Satan that attracts the Church to use Him as an icon for their religion.</span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">In the Book of Belial, LaVey lists the 5 major elements needed in the performance of satanic magic: Desire, Timing, Imagery, Direction, and Balance. LaVey's instructions on imagery perfectly describes Foreman's visual design of the stage:</span></div><div><span class="Apple-style-span" style=" font-style: italic; line-height: 19px;font-family:-webkit-sans-serif;font-size:13px;"><br /></span></div><div><span class="Apple-style-span" style=" line-height: 19px; font-family:-webkit-sans-serif;"><i><span class="Apple-style-span" style="font-size:small;">Imagery</span></i><span class="Apple-style-span" style="font-size:small;">: Accouterments conducive to the ritual environment, and the full visualization of the desired outcome, must be present. This not only includes the standard ritual equipment, but more specifically any specialized imagery or items the magician requires to give him a full mental view of what he wishes to happen. This can include drawings or paintings, sculptures, dolls, written poems or verses, or anything else that aids in visualizing the outcome.</span></span><span class="Apple-style-span" style="font-size:medium;"></span></div><div><br /></div><div><span class="Apple-style-span" style="font-size:medium;">Especially since Foreman creates his plays through the process of rehearsal, he too demands that every visual and aural element are present during rehearsal from day one in order that he can effectively create his "magic." Foreman typically adorns his sets (</span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size:medium;">Astronome's</span></span><span class="Apple-style-span" style="font-size:medium;"> not excluded) with many many layers of imagery, from strange and absurd props and objects to ornate and intricate geometrical designs to mythical symbols. These images really do create a sense of ritual. </span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">The Satanic Ritual and Foreman's plays also share similarities in the performative aspects of both of the rituals.</span></div><div><span class="Apple-style-span" style=" line-height: 19px;font-family:-webkit-sans-serif;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size:medium;">LaVey distinguishes the performative behavior that takes place in a Satanic ritual from that of other religions; claiming that even though the Satanist is in a suspension of disbelief, he is always consciously aware of this fact, and knows he is doing so for a specific purpose (magic), rather than falling victim to the sort of self-deceit and delusion that other rituals promote.<br /></span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">This reminds me of Foreman's technique of distraction and psychological conflict--always making both the audience and the actor fully aware of the fact that they are in a theater, watching/performing a play--never letting you get swept away by your emotions or the fiction of the performance.</span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style=" ;font-family:Helvetica;"></span></span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">I know that Satanist are a rather silly group of people, what with the dressing up as devils and occult figures and performing strange rituals of lust, sacrifice, compassion, and destruction. I mean, they are really only as silly as any other religion with their silly rituals. But what the Satanists have, at least, is the humor and honesty to admit to the reality of what they do- the theatricality of it all. They are so self-delusional in that sense. And I think Forman himself would agree in saying the same for the institution of theatre. Ultimately, his theatre exists to point out the same type theatricality naturally inherent in theatre; rather than to not hide behind some intellectual concept of western theatre. It is theatre for the sake of creating theatre. Ritual for the sake of Ritual. </span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">With all this in mind, it is hard to look at Foreman's plays and not believe that he truly is trying to summon some kind of real and powerful magic. It begs the question: Richard Forman, Theatre Director? or Richard Foreman, Satanic Magician? </span></div><div><span class="Apple-style-span" style="font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style="font-size:medium;">Personally, I give Foreman much more merit than LaVey and his religion, because the kind of knowledge Foreman is offering isn't so readily attainable as the kind offered by Satanist philosophy. Foreman's knowledge is much more cryptic, and carries with it a mystical fortune. It is a process of peeling back the layers, into the subconscious. Like the Satanist philosophy though, Foreman's theatre also indulges in the desires of man; only it is not so much about the immediate experience. Instead, it reveals the plural nature of man and man's reality (space and time)--it is about the here and now, but also about the there and then; about what is happening, and also what is not happening. and also, what is not happening. and also, what is not happening. and also, what is not happening, what is not not happening, what is not happening....</span></div><div><br /></div> <p style="margin: 0.0px 0.0px 6.0px 0.0px; line-height: 19.0px; font: 13.0px Helvetica">*For those of you more conservative readers who may not be familiar with the teachings of the Church of Satan, or who may have been sensitive to the whole "Satanic Panic" hysteria of the 80s, there is no actual Satan worshiping involved. The philosophy is for all intensive purposes humanistic, denying the concept of human-created gods or devils and all forms of the afterlife, and instead focuses on the pursuit of individual-enlightenment and the indulgence in human, worldly experience. The only difference is that Satanists believe religion and ritual to be a necessary part of human nature, so they have created certain theatrical rituals and dogma to be performed and followed as part of the religion. They are basically just intellectual Dungeons & Dragons nerds.</p><div><div><span class="Apple-style-span" style=" line-height: 19px; font-family:-webkit-sans-serif;font-size:13px;"><div><br /></div></span></div></div>ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1tag:blogger.com,1999:blog-868655242767359379.post-86224923554919996252008-12-12T14:46:00.000-08:002008-12-24T16:41:21.428-08:00Rehearsal: Thoughts and Observations on Process from an OHT InternWe are at the end of week 4 of rehearsal for <span style="font-style:italic;">Astronome: A Night at the Opera</span>, Richard Foreman's new collaboration with avant-garde composer John Zorn. This project is a new challenge for Foreman, in that it is the first time he's tried to create a play that isn't <span class="Apple-style-span" style="font-style: italic;">really</span> "his."<br /><br />Foreman's usual method of creating theatre begins with generating a text. He'll generate many seemingly disconnected strands of dialogue over the course of a few months in a stream-of-thought sort of method. Then he'll collage these pieces of dialogue together into something that seems to make sense to him. He'll bring this along with pre-recorded audio clips, video images, etc into rehearsal and start playing around with it all: trying every thought that comes to mind. The process of his rehearsals are in an ever-constant state of flux. The Ontological-Hysteric staff and interns are there to facilitate Foreman's fantasies. They do their best at creating everything and anything that he calls for, no matter how absurd. Foreman directs his theatre much like a film director edits film: he has all the raw footage already at his disposal from day one, and then he arranges and rearranges the material until it is in an order that pleases him.<br /><br />However, <span class="Apple-style-span" style="font-style: italic;">Astronome</span> is different, because Foreman did not start with a text. In fact, at the moment there exists no text. No film. Only a few sparse voice recordings. The play is to be built around John Zorn's <span class="Apple-style-span" style="font-style: italic;">Astronome</span> composition, an experimental, ritualistic death metal album featuring the guttural vocalizations and primal screams of famed singer Mike Patton.<br /><br />The past 3 weeks have felt more like an eternity. During rehearsal, I often feel as though I have died and found myself in some bizarre purgatory. Nothing about Foreman's rehearsals make any logical sense, except to Foreman of course. It is a treat to watch him direct his actors. Every choice Foreman makes during rehearsal, from the costuming, to the performers' actions, to the stage, prop, and light design, comes completely from intuition. It does not make immediate sense. It may take days to understand why he made a choice, and then again some of things are immediately brilliant (but you can never say quite why).<br /><br />My favorite part of rehearsal is when Foreman ascends the stage to work out an action or give example. His movements on stage are so genuine and purposeful. I might even go to say that I'd rather watch Foreman on stage than any of his actors. But to say this is would be to go against what Foreman wants his actors to do on stage. He cares little for "theatrical" images, and theatrical acting; that is, images which sole purpose to create an emotion from the spectator. In his first plays he specifically used non-actors, because he enjoyed the awkwardness of it, but then as his plays became more psychologically layered he found the need for more highly skilled actors to convey his thoughts. Today, I think, he uses a mix of both.<br /><br />A reader of this blog, had commented that his students were annoyed by some of Foreman's work that he had shown in class. I think this is a very common reaction to Foreman's plays. In his early work, the audiences would walk out before intermission, and he'd end up playing to a few weirdos who stuck around. What Richard does is certainly not "theater" in any contemporary Western sense. Richard would be the first to tell you that he "doesn't know how to direct theatre," and that most of what he creates is "lousy." This has become his aesthetic: lousy theatre. Homemade objects, shoddily crafted thing-a-majigs, ugly colors, awkward designs. Like Gertrude Stein, Foreman is more interested in pointing out the syntax of lanuage and creating a new kind of language for his artistic medium.<div><br />Everything on Foreman's stage is pointing out this syntax, forcing the audience to be aware of the reality of what they are experiencing. Foreman is a master of distraction and contradiction. He litters his stage with hundreds of props, absurd objects, clashing designs, optical illusions, string, stripes, checks, dots, etc. His lighting designs are brilliantly unconventional, with several giant, ultra bright, soft lights that point at the audience, and flashing strobes that are used both aesthetically and as cues for the performers. He wants to make it impossible for the the audience to get wrapped up in the fiction of the play. Indeed, he is opossed to the kind of theatre that wants you to "feel" something, or empathize with the characters. He is much more interested in creating a psychological experience, in which you are never quite aloud to fully live out the emotions you think you should feel from the action on stage. </div><div><br /></div><div>The psychological contradictions that occur sublimely under each action, and each visual and aural element on stage, effect the psyche of the theater-goer in a strange way. The most common of these responses, I think, being annoyance. It's a bit like one's first taste of coffee or liquor: at first the experience is most undesirable, but then you try it again and it's a little more palatable, and before long you learn to enjoy the flavor if not only for the neurological effects you get from ingesting it. </div><div><br /></div><div>It is not an immediate process, there is no instant satisfaction as far as intellectual reason or emotion, it is a kind of something that grows in the mind like an implanted seed, or manifests over time like festering fruit. </div><div><br /></div><div>The set design for <span class="Apple-style-span" style="font-style: italic;">Astronome </span>gets more and more ornate each day I come into rehearsal. After I've been gone from the theatre for the weekend, I'm always excited to come in on Monday to see all the new changes that have been made. It seems every day there an addition of a new line of string dissecting the theatre in some direction, or another layer of fabric stapled to the walls. The environments that Foreman creates for his actors are truly chaotic, and I think it's his attempt at depicting the world the way it is: multilayered, confusing, conflicting, chaotic...<span class="Apple-style-span" style="font-weight: bold;">dangerous</span>. </div><div><br /></div><div>At first glance you would think all this ornamentation is haphazard, but then you realize it all is really there for some specific reason when Richard yells a sudden halt to rehearsal and begins tearing down a piece of striped fabric, or small random letters that hang from a string, or removing a small red ping-pong ball that is hardily noticed on stage saying "We simply cannot go on rehearsing!...These kinds of things make a very big difference to those with a sensitive soul." </div><div><br /></div><div>And I suppose they do. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com0tag:blogger.com,1999:blog-868655242767359379.post-16029419114443484472008-11-15T18:26:00.000-08:002009-01-06T22:30:03.385-08:00Ontological-Hysteric Theater: First WeekLet me try and organize my thoughts here:<br /><br />By here<span style="font-style:italic;"></span> I do mean <span style="font-style:italic;">here</span> as in this blog, but also I mean to say let me organize my thoughts <span style="font-style:italic;">now</span>. Of course I also mean <span style="font-style:italic;">here</span> as in the place I am writing this: a coffee shop.<br /><br />I have been waiting for what seems like many months in anticipation for my internship with Richard Foreman and the Ontological-Hysteric Theatre. During this period of anticipation i did many things to occupy my time. Many things and not so many things. I rambled about the country via motorcycle visiting friends, family, and strangers. I ended in New York City, making an indefinite home in Brooklyn.<br /><br />My first 3 weeks were miserable. I wanted very much to transport my self back to the West. I came into the city with little more than $45 dollars cash in my pocket and whole lot of increasing credit card debt. I had no home and no job. The first 2 weeks seemed to last months. I was constantly stressed out and worried about finding housing, food, and a job. Looking back now it doesn't seem that long. Hell, I found a place to live and work in only 3 weeks.<br /><br />I now work at a nice little espresso bar in Forte Greene somewhat near my apartment. With my internship I will be working 60 hours a week: 40 at the theatre and 20 at the coffee shop. Guess which one I actually get paid for?<br /><br />So I've been waiting, and working. And the first day finally arrived. I woke up and it was time. Only a little nervous. I was more afraid that I'd be working with a bunch of pretentious rich kids. And while most of them certainly are coming from rich families, I was pleased to find that I'll be working with more genuine people than I expected. I guess it makes sense: what kind of people are attracted to Foreman's work? And are willing to give their free time to help make his visions reality.<br /><br />It turns out through some series of events that I happened to be one of these people; though, I couldn't exactly tell you why or how: it all just happened. Of course there was more to it, but looking at it from a distance...<br /><br />Does anyone know why anything happens?<br /><br />I have found myself here. Not to say I have <span style="font-style:italic;">found</span> myself, but more to say that I have litterally found myself <span style="font-style:italic;">here</span>. And what a pleasant surprise, and what an unusual place, and what a unique opportunity. I am excited.<br /><br />The theater itself inhabits the loft of the St. Marks Cathedral in the East Village. It is everything I could have imagined. Small, intimate, almost make-shift. The theatre staff is comprised off 5 people, all friendly, genuine, caring, and passionate people. They work hard and love what they do. I hope to learn much from them on that mode of living. I only briefly met Richard, as rehearsals have not yet started.<br /><br />The first two weeks are load-in: in which time we construct the set, costumes, and props, so that everything is fully ready to go by the first day of rehearsal. Richard runs every rehearsal like a full dress rehearsal. That means every element must be at performance level. This is becuase Richard likes to start with <span style="font-weight:bold;">everything</span> from the very beginning. He puts all ideas right out in the open and physically works through them during the 8 weeks of rehearsal.<br /><br />We were warned: NOTHING IS SACRED (and everything is sacred)! Even though we spend all this time, craft, effort, material, and money on a prop, costume, sound design, or set, none of it is sacred. In fact, half it will be thrown out, changed, modified or not even used for the final performance. Richard Foreman's method of creating a play is unique in that it all comes out of the process. We were told that we will get to see many different versions of the play, since it will be in constant evolution. Something that the technical director said that I found interesting was that even though during the early rehearsals a certain point in the play a large object might be shook loudly, and in the final version it is replaced with a silent moment, the energy of the initial action is still remains present. It got me to thinking about the reverberation of energy in a space, and how that it can exist both in a specific moment in time and eternally.<br /><br />Richard plays typically involve hundreds of props and objects: he is a master of distraction. The prop list is quite amusing calling for odd numbers of odd objects, such as 3 red ping pong balls, a giant green lightbulb, 4 rolling pins, a giant fish that knitting needles can be stuck into, etc. The list as of now is literally 3 pages long, and it will only grow throughout rehearsal.<br /><br />I speak more in depth about Foreman's method once we actually begin rehearsals, so I won't try to explain any of it now. Not here.<br /><br />I suppose this whole blog thing should be more about me: my experience, my impressions of this process.<br /><br />Well. In the past week I've had many thoughts. I should try to write these down through out the day as they come, because now of course I can't remember any.<br /><br />I have thought constantly about what will happen after the internship, and after that, and after that, but then I try to bring myself back to the moment. I try to focus only what is immediately in front of me.<br /><br />But will a stick around in New York? Let's just say I have a gut feeling that tells me that this town is going to suck me into it for at least a few years. And that might be ok. Even though my heart sits in the cold Portland water.<br /><br />Do I want to be an actor still? ? ? Theater. Film. ? ? ? Oh I don't know. It all seems like so much work to get there. But then maybe if I keeping living the way I'm living it will all just happen like everything else just seems to happen. Of course I know nothing really just happens: I work hard for things. But again things do also just happen at the same time. Looking back at it.<br /><br />What if I get the chance to actually <span style="font-weight:bold;">work</span> in theatre. It would be a busy life, working multiple jobs, multiple theaters, making all those connections, networking, blah, blah...<br /><br />I have to focus on the moment, I can't think about all of that. It isn't healthy. I forget to breathe.<br /><br />I will end this post with something I found to ring true while reading Foreman's <span style="font-style:italic;">Unbalancing Acts</span>. What he said seemed to settle my dilemma about wanting to hurriedly move back to the Northwest as soon as possible. It is Foreman's reason for living in New York, and also one reason why he produces his art.<br /><br />"Obvioulsy, if you choose to inhabit a nice, comfortable environment, it's quite easy to feel at one within yourself. The challenge is to find that point of stillness in the midst of the storm--within the depths of the negative hyper-energy that characterizes the worst of contemporary Western urban life."ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1tag:blogger.com,1999:blog-868655242767359379.post-44707905907210683042008-08-22T16:38:00.001-07:002008-08-22T17:02:48.916-07:00It's been a whileI feel lazy, because I have posted nothing new in quite some time. For those of you who might happen to read this, I'll give you a brief run down of what I've been up to. <br /><br />First off, the project in winter was a huge success! It evolved into a one-hour stage performance that synthesized all of my street pieces plus some others. It was called "Human Resources" and was performed at the Evergreen State College on March 14th. The only part of the production that wasn't a success, unfortunately, was the documentation. I was so busy doing every other aspect of the production that I had very little energy or time to properly document the process with pictures and video. My camera man dropped out on me at the last moment before the show, and I so I set up two static cameras, but then only one of them got turned on. I haven't even watched it, I'm so depressed about it. <br /><br />Nevertheless, the performance was fantastic. Thank you to all who helped. It was an amazing experience, and the images that were created will not soon be forgotten. Now the only thing left to do, is to transcribe the performance score, in hopes of getting it produced for a future production. <br /><br />In the Spring I traveled to Istanbul, Turkey. There I met with artist Ismet Dogan, who commissioned me to create a performance for him and his friends in his studio in Beyoglu. I collaborted with Mariah Barrett and Halil Ildeniz on this 30 minute peice. There is a video floating around somewhere in Turkey of this performace, and when I get a hold of it I will most definately post it. <br /><br />More good news is that I got an internship with Richard Foreman and his Ontoligical-Hysteric Theatre in New York City. My Internship starts in November, and I'll be sure to keep this blog updated during that time. <br /><br />I'm currently en route to New York via motorcycle. I've been meandering across the country since early July. <br /><br />I can't wait to get a new project under my feet. The anxiety of feeling worthless and lazy is becoming too great.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com2tag:blogger.com,1999:blog-868655242767359379.post-45268976369572157072008-01-21T13:34:00.000-08:002008-01-21T13:39:05.633-08:00Winter ProjectThis winter Jamie and I are creating an experimental stage performance. We have synthesized my past 6 performances into one inclusive piece. We are taking the images of the past performances, which where created for site-specific public locations, and translating them to the stage. I have applied for a grant, and will find out week 4 just how much funding this project is going to have. The performance will be on March 14 and will be invitation only. I will post sketches, sounds and pictures of works in progress as they materialize.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com3tag:blogger.com,1999:blog-868655242767359379.post-66711349082069642742008-01-21T13:28:00.000-08:002008-01-21T13:34:47.415-08:00GARBAGE Pics<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFpGVJkopUh3PKTDr3KXaDfPwLeZV0uLCFtZCDDvWeJPqQCa-Qajj62jotAH3k3U-NqfnsZDVjufcYt3VYofLneA-eEkjmddDv2hMHVnSNqfGoyiZckrfoFy3UOvQSxVehsY6YylrkeCs/s1600-h/2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFpGVJkopUh3PKTDr3KXaDfPwLeZV0uLCFtZCDDvWeJPqQCa-Qajj62jotAH3k3U-NqfnsZDVjufcYt3VYofLneA-eEkjmddDv2hMHVnSNqfGoyiZckrfoFy3UOvQSxVehsY6YylrkeCs/s400/2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5158045345642355106" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4JldIW9dNsGuqFdgKwjj88_nFRlejSWEvaAtxZZvAJ3K01U3xiYQ2kCjpo6K0jSQcLB8RveaZ0qK2ssjDhISH4aHIjkIV3GKbjXJjRfe7JUfZWYPeEmsD6dJtGOmnl3fsKilUEp5d49A/s1600-h/1.jpg"><img style="display:block; 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Posted here is a short compressed version of it. It has no sound, as the soundtrack will be played separately. I will try to get those sounds up here in the next couple of days. The scene is as follows: <br /><br />5pm, weekday, it has been getting dark for the past half hour, night fall is almost set. People are driving home from work. Most of the wives are done their daily downtown shopping. The sidewalks are pretty much empty. except for the small percentage that commute on foot to-and-from work. This is a transition hour, and somewhere in a dark alley way something strange is happening. If you are of the few who stumble accidentally upon it, this is what you would see:<br /><br />There is a dark alley ahead. You hear loud industrial noises sounding from its belly. You take a closer look. Halfway down the long, tall alley there sits a trash can. Inside it there is placed a glowing television set. A video plays. It appears to be a video feed from a security camera. The image on the screen is fuzzy and over exposed. The motions are jumpy. You can't quite make out what you are watching. Is that a trash bag? Is it moving? Then someone appears on the screen--a man. He cautiously approaches the writhing bag. He opens it. Out from the bag emerges a business mannequin. The man runs down the alley afraid. The mannequin has freed itself from the garbage and makes his was towards the camera. The camera pulls out to reveal that what you have been watching was a video feed on a television screen; however, the same action is also happening in front of the TV. A picture within a picture. Video feedback. The video continues to fold itself upon itself and forms a continues loop. <br /><br />You look further down the alley. The video was a suggestion. There down the alley sits the exact same trash bag. the form of a body protrudes out from it. Should you open it? Just then there is movement at the very end of the alley. A dark figure stifly dragging a large black garbage bag across the alley way where it hurls the sack into a large dumpster. The figure (the same mannequin as in the video) recedes back the way it came. Then out from the dumpster crawls another one of these figures. This sequence of events repeats itself, until you realize you must be witnessing some sort of businessman disposal plant. Your attention shifts back to the writhing bag just a few feet ahead of you. Do you open it?<br /><br /><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-3532304244599860408&hl=en" flashvars=""> </embed><br /><br />This video is a compressed version of an already low quality video. So it may be difficult to view some parts. It was shot on VHS and effected in Final Cut Pro. *NOTE: this isn't the final version. The 'whole' thing is supposed to be choppy, but technology has been giving me problems. Final Cut...More like Final Cuts Random Things Out of Your Video Project. I tried to upload the complete, final version this afternoon after hours of screwing around with things, but it was taking way too long to upload. And my soul has been broken by endless waiting for things to upload, render and burn, so this is what you get.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1tag:blogger.com,1999:blog-868655242767359379.post-66737547406079049132007-11-15T11:08:00.000-08:002007-11-15T11:32:31.375-08:00A Thought on the Port Protests & A Call for New Radical ProtestAlthough not active in the protests, i have been keeping up on what has been going on and they have my moral and spiritual support. I was thinking about the effectiveness of what they are doing, as well as protesting in general, and it is quite apparent that there needs to be new radical forms of protest. Society has become assimilated to the way protests are carried out: they send in a pollice unit, the police brutalize and arrest the protesters, and nobody (the mass public) does nothing about it. We need to find new methods of protest in which the police won't know how to process it. I am suggesting something in the form of high satire. And I started to think of a performance:<br /><br />The scene is a crowd of performers dressed in full-body, white butoh make-up, naked except for a turban on the their heads and cloth around their genitals (as to not get arrested for "indecent exposure"). They will play the dead Iraqis. A sea a dead Iraqis writhing on the ground, exposing their wounds and spitting up blood. The protesters will boo and hiss at the Iraqis, kicking them down and spitting at them when they reach out for help. The protesters will also be armed with little debbie brownies, which they will hurl at the Iraqis as well. The Iraqis, being offered no aid from the protesters, have no other choice but to reach out to the policemen for help. As this is going on, a performer dressed as an Iraqi woman is being raped by a group of American soldiers. Amidst this commotion a performer dressed as a politician (Bush) is wandering around chuckling to himself, counting a large wad of money and gluttonously drinking oil from a can. The back drop is set by large speakers pumping out music by Metallica, Disturbed, and 3 Doors Down.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com3tag:blogger.com,1999:blog-868655242767359379.post-29137593488775029762007-11-12T11:18:00.000-08:002007-11-12T11:24:03.697-08:00GarbageI am currently working on my next piece called "GARBAGE." It is an installation, which will be set up in a downtown alley way. As of now, I've been working on the video portion of the installation. I also plan to incorporate a performative element to installation as well. I will need as many performers as i can get for this one. I will also try to upload some production stills from the video and maybe some sketches as they become available.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com0tag:blogger.com,1999:blog-868655242767359379.post-27207194628982423962007-11-12T10:58:00.000-08:002007-11-23T18:35:01.888-08:00Suburban Inspirations<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFa9OIuWTHxRHGSHglw78_u3K2cRJ5_G0HddcFRJBE8ILKcWAnJAzE4UTUFL4F5wxANS1ZvWlSPjLGSfYscBtGns2dlWBfiLaf7vw7F7LzNhTkgDOzWYQhFUc0TjvEiB0X1gZafA592k/s1600-h/0.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFa9OIuWTHxRHGSHglw78_u3K2cRJ5_G0HddcFRJBE8ILKcWAnJAzE4UTUFL4F5wxANS1ZvWlSPjLGSfYscBtGns2dlWBfiLaf7vw7F7LzNhTkgDOzWYQhFUc0TjvEiB0X1gZafA592k/s400/0.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5132031507880849922" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqEihYKNd7ma-X_sso9oYqFSQpvFWRXRWYZZDlMziZKLwK_PplL1GE2HeipBBIC8dD3krBH3bHsYePbELN5sfCjWrhayVyUwfP6zmlOSl2crVOEHsAaJwdFrnse6oHITGN-8Cu8QDuME/s1600-h/1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqEihYKNd7ma-X_sso9oYqFSQpvFWRXRWYZZDlMziZKLwK_PplL1GE2HeipBBIC8dD3krBH3bHsYePbELN5sfCjWrhayVyUwfP6zmlOSl2crVOEHsAaJwdFrnse6oHITGN-8Cu8QDuME/s400/1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5132031529355686418" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJztP6mGJkPDpstrsfoaSFoo9CKqYl-FRUSSWPFv4gcBBHib5w9Kqf5YqlKztt8Oh0MGAlxn9CdP-5s1AEZpZ2H3eMkJ_hkirxRISWezuq8z2QxtIoCDdmrOIGSob-s7knHp4VHWSREo/s1600-h/2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJztP6mGJkPDpstrsfoaSFoo9CKqYl-FRUSSWPFv4gcBBHib5w9Kqf5YqlKztt8Oh0MGAlxn9CdP-5s1AEZpZ2H3eMkJ_hkirxRISWezuq8z2QxtIoCDdmrOIGSob-s7knHp4VHWSREo/s400/2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5132031546535555618" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHM_FD_U5dVcKJtuglCmJL1PXfjMhcRXvr1nzgFvaL6OWJPa3hQaN-WITH_exZKLeOuT5W6wOvvE5LI3kTS4_KR1ns-RFW2HuzzJ0lOZx8yRO3zxiQazbRbT3qgM072JWZoCPcYdAF4c/s1600-h/3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHM_FD_U5dVcKJtuglCmJL1PXfjMhcRXvr1nzgFvaL6OWJPa3hQaN-WITH_exZKLeOuT5W6wOvvE5LI3kTS4_KR1ns-RFW2HuzzJ0lOZx8yRO3zxiQazbRbT3qgM072JWZoCPcYdAF4c/s400/3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5132031555125490226" /></a><br /><br />These are photos of a retail park that was built in West Olympia over a year ago. They are still empty. Thanks to suburban development, we now have these colorful post mod buildings to look at instead of ugly undeveloped land. <br /><br />I added the captions. I think I might print off posters and hang them up around town and maybe hand them out to real estate firms. I feel as a community we really need to support the expansion and growth of our town. Not only does it create more jobs and more affordable living for families, but it also makes our town look en vogue with beautiful architecture. Making motivational posters such as these is just one of the many ways you can take part in supporting your community. If you have trouble coming up with an original idea, just email me and I will provide one for you.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com0tag:blogger.com,1999:blog-868655242767359379.post-83140258215001311372007-10-29T11:47:00.000-07:002008-08-27T09:57:15.164-07:00¡LADDERS!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBODfcRzDTvJPzz1dMGpnkd-sHU3qFIb0UOyHF04KwmYmwENmPZJwZDhCjV_uMLkTpd2-hc7HT2hVFJBVOGwl1x2vFchOjsJBELDKlTzPdAqc8OOvrgYbyH0oYhfV_V8SpuIwLla9CMY/s1600-h/25.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBODfcRzDTvJPzz1dMGpnkd-sHU3qFIb0UOyHF04KwmYmwENmPZJwZDhCjV_uMLkTpd2-hc7HT2hVFJBVOGwl1x2vFchOjsJBELDKlTzPdAqc8OOvrgYbyH0oYhfV_V8SpuIwLla9CMY/s400/25.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5126852308861650386" /></a><br />The Corporate Ladder, The Holy Mountain, The Journey. I wanted to do a piece that encapsulated these themes. For me the image came in form of the step ladder. It was a great prop for street theatre. It was transportable and could be set up easily any where. I chose 4 different heights of ladders. An 8-foot, 6-foot, 4-foot and and 2-foot ladder. 4 performers traversed theses ladders in various different manners and configurations. A rogue character systematically traveled between them delivering an endless amount of junk mail, which he pulled from a briefcase and stuffed into the pockets of the ladder performers. The soundtrack: an adult contemporary musician by the name of Michael Bolton. Bolton's music, which is designed for the very median of the general music listening public, and which can easily be piped through supermarket speakers and office waiting rooms alike, offers feel-good tunes that both inspire and motivate the listener on a subliminal level. Truly a businessman's chosen soundtrack to make it through the work-day. Bolton's records may come second only to Huey Lewis and the News, which is reserved strictly for weekend listening. <br /><br />I took the backseat on this performance, observing it from the director's point of view. It was a completely different experience. I felt as though it was much less of a transformative process than performing. I felt my self yearning to be part of the action. I possessed neither the innocence or element of surprise that other spectators had, so it was hard to process the images without bias. In fact, I didn't really know what to think about what i saw. I wasn't concerned about the content of the performance. I was paying more attention to the technical details (e.g., the performers' movements, the compostion, timing, tempo, duration, and spectators' responses). I thought I might be able to see the performance as a spectator, but I was mistaken. A director has a completely different view of things. This was the first performance I have directed that I haven't also performed in, so I have never had the chance to experience watching a performance solely as a director. I'm not sure what, if anything, I got out of this experience. As an actor I most always gain some sort of insight through the performance of a piece, but this didn't happen onbserving it just as director. Perhaps i need allow more time for the experience to resonate in my mind. <br /><br />Any now here are some stills. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnESER00AzjFEqQIQOUQgt2u93I46u3u5BqlSOz6tlh5OsfLTnbasZhaWAsINQNoTKe6UgBwwn5jG1Nv0Y6b8_E59G6oXv2bfaT1F098fIHypLE5boOn4YPpUZGPCIcM4cMJFTjd4LWo/s1600-h/0.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPnESER00AzjFEqQIQOUQgt2u93I46u3u5BqlSOz6tlh5OsfLTnbasZhaWAsINQNoTKe6UgBwwn5jG1Nv0Y6b8_E59G6oXv2bfaT1F098fIHypLE5boOn4YPpUZGPCIcM4cMJFTjd4LWo/s400/0.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5126848099793699890" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjesR4xnoCmMRnAa6snriKRLLUYtZHUWuQrPVwyDq8P9QU1DWu2-Z8vUfRwSkZj5G2NO5K-pkkTG9MBbTS2UldCkIo2XYLPMjV2EiZenRvUsOWOSjNqt3lLug0XxKTpKPNDVL0j_B8WFSk/s1600-h/1.jpg"><img style="display:block; 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margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0YofkwBofpHQ3KaRxC5PmIMI8Ff3qxZS_5PQKx_-HbjhhOWFUO_VBJXimqhr1aoRsVeUlRlb410nV4t-XoIUKnYf8aNhLR7eIEn686tilrnYX8mpJSc3zaW-XhpjTMN_8NhbYus0VnKg/s400/25.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5126851196465120690" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GAgwH8c196ldIs1YFmf8ftP928-ACpzaxjoi3v637UWAWbv2I6Bm4hVRjJp7kMehSx8ujoITYkrF2SRR4QW-afbRLOZPDln3RuMibl7KYwcoi4H2Vh-z-t6r-ZFSgt3sCA-RztaIsuw/s1600-h/26.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-GAgwH8c196ldIs1YFmf8ftP928-ACpzaxjoi3v637UWAWbv2I6Bm4hVRjJp7kMehSx8ujoITYkrF2SRR4QW-afbRLOZPDln3RuMibl7KYwcoi4H2Vh-z-t6r-ZFSgt3sCA-RztaIsuw/s400/26.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5126851488522896834" /></a><br /><br /><br />On A Forward Note:<br /><br />I think the next piece will be the last featuring these characters. I feel as though I'm growing bored of them. The next performance titled, GARBAGE, will be my attempt at throwing these characters in the trash and laying them to rest.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com0tag:blogger.com,1999:blog-868655242767359379.post-72846323802481964532007-10-15T12:05:00.000-07:002007-10-18T17:28:10.166-07:00MILKMEN<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPn_13fljlexOeYtyEWO5SNa4gZYNm6-QlnH7-9ZGbBCLRIsc-rzWCRORpX8K4tdMetqdv_nepPpLjzupf1MXf1HpLO9Xwos3kVGhotV8i8FipwJPIgxNvvOl-LkpG-QDSgW03mEj2vmc/s1600-h/7.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPn_13fljlexOeYtyEWO5SNa4gZYNm6-QlnH7-9ZGbBCLRIsc-rzWCRORpX8K4tdMetqdv_nepPpLjzupf1MXf1HpLO9Xwos3kVGhotV8i8FipwJPIgxNvvOl-LkpG-QDSgW03mEj2vmc/s400/7.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121661832432330210" /></a><br />Last Thursday downtown Olympia was the stage for the first in the series of public performances created for this fall. The piece was titled MILKMEN, and it featured the same characters from the past two performances. Set in a slightly different situation, the characters spoke for the first time. The words they spoke however, were not a dialog, but framents of inter-related phrases. I wanted to use words as objects, rather than a tool for communication. My hope was to create word objects that would fall deft upon the ear of the spectator, and would have to be obsorbed into the spectator through a different sensory reciever. Each performer was assigned a part of a phrase, for example, "that's interesting, let me tell you a story about when my wife.." The only word that changed in this speech was the subject (wife, children, son, daughter, the baby). The phrases were spoken at random, sometimes sparse and sometimes overlapping into a cacophany of 'businessman babel.' As for the movement; instead of the sporadic exaggerated movents used in the past events, the characters moved in machanical unsion. They marched very slowly in-line in no particular path around the downtown sidwalks, alley-ways, and parking lots, once even intruding through Olympia's en vogue Blackfront Art Gallery. <br /><br />The performance caused quite the commotion with groups of downtowners literally running out of restaurants and businesses to catch a glimpse of the happening. With today's convenient technology, everyone was snaping pictures with their cellphones and digital cameras. A few photography students were even on the scene with actual 35mm. Traffic was held up on a few different occasions and the topper came when the performance persuaded a group of young street vagrants to join in line with the players.<br /><br />As with all of my work, I didn't have any specific message to deliver with this performance. I was only working from an image in my head, which i made manifest into performance. However, this doesn't mean that the spectator can't form his or her own interpretations of it. One gentleman Mr. Richard DeRosa and his wife were among those who did such that. Mr. DeRosa was so intrequed by the images he saw that it moved him to email the John Robins, the Performing and Media Arts Manager at the Evergreen State College. John put me in contact with Mr. Derosa, who shared with me his wonderful interpretation of the performance as well as personal stories of his experiences in the business world. I am very grateful to Mr. DeRosa for sharing such things with me, for I think his act of listening and sharing part of himself spoke directly in opposition to part of what this performance maybe had to say. Here is his interpretation he wrote to me in an email:<br /><br />"I don't really know much the genre, how it's written, and what type of<br />message is being attempted, but I was struck by a certain image that<br />came through.<br /><br />It struck me as a statement about man's condition. I imagined a<br />bustling<br />scene, where men and women, on their way home from work, would stop at<br />the<br />corner store to pick up some milk, before hurrying home to their<br />families.<br />As they would come across another acquaintance, portrayed by each of<br />the<br />mimes, they would have these little conversations, each one wanting to<br />tell<br />the other his tale of woe, "let me tell you about MY wife, MY life, my<br />son....", but none of them really listening to the other's story,<br />because<br />each felt that their story was worth hearing...."let me tell you a<br />story<br />about MY life.......". Even the way they were "walking" through life<br />was<br />depicted in their constant motion through the streets of Olympia. They<br />weren't standing around in a circle talking to each other, but just<br />passing<br />through life, trying to get someone to hear their story.<br /><br />It's a rather sad and poignant tale, but one that's very easy to<br />visualize."<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHSv8d3qk7slUc6XsqPhIRQ5AQw3b71sgd8Y5YPR5GuUmTtogxVHfr64X4ErMbE0go2LZAwJi8yLyFmLyzgtJqOR7XDobXH5j7QJ_-CHXRj5MpnKCKZHgvRomPW9rFXcyiKQIdnn1WjKQ/s1600-h/12.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHSv8d3qk7slUc6XsqPhIRQ5AQw3b71sgd8Y5YPR5GuUmTtogxVHfr64X4ErMbE0go2LZAwJi8yLyFmLyzgtJqOR7XDobXH5j7QJ_-CHXRj5MpnKCKZHgvRomPW9rFXcyiKQIdnn1WjKQ/s400/12.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121662785915069938" /></a>Since this email, Mr. DeRosa and myself have exhanged a few emails where he has extrapolated in more detail about his thoughts about the theme of the performance and my initial thoughts that moved me to create this peice. It has been very helpful to me to talk about my work in such a forum. <br /><br />Alos, there have been a number of people, including Mr. DeRosa, who refer to these characters as mimes (probably because of thier white faces). I haven't completely figured out these characters; in fact, that is part of the reason i am creating these performances for them, but i don't consider them mimes. I like to think of them more as mannequins: empty, plastic, but still attributing certain and exaggerated human features and characterstics. Mr. DeRosa agreed with this as a more fitting definition after I responded to his initial comment. <br /><br />Some Stills:<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoazRFRCkd3EfsxbaKQzAQDsyPxtt0_0tHSVOYgzHj5aWx0aY19FqrZ84-xEPkOmHdVJAEq2_3vlf3hLZRH8_tJ7y3LwG2Sb9sj_NHn6p7_pvHCosqRjOaGGKPMAV6lXY2TU4okUrXEJs/s1600-h/0.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoazRFRCkd3EfsxbaKQzAQDsyPxtt0_0tHSVOYgzHj5aWx0aY19FqrZ84-xEPkOmHdVJAEq2_3vlf3hLZRH8_tJ7y3LwG2Sb9sj_NHn6p7_pvHCosqRjOaGGKPMAV6lXY2TU4okUrXEJs/s400/0.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121663722217940482" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRpGFWEZFN2rcbmIch57UCQXUZxZ8GM3WSGe_De2sdIIjtGSjcCQ7EwmvNG73abB6dPeoUM5lW7JDthyphenhyphenqXYBT_OLzdM_BK5W6HVynAbcjnBqBDXZDDTF7uY52zY1L_ITqPpwSldk4g0Y/s1600-h/1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRpGFWEZFN2rcbmIch57UCQXUZxZ8GM3WSGe_De2sdIIjtGSjcCQ7EwmvNG73abB6dPeoUM5lW7JDthyphenhyphenqXYBT_OLzdM_BK5W6HVynAbcjnBqBDXZDDTF7uY52zY1L_ITqPpwSldk4g0Y/s400/1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121663726512907794" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivvQ_QP3RjX8gW9txz0B46F9Hjzhbi-grgkUlHQ2tSYkedwzm0yQdm-7d_ehkwZy49ECtzXcn83m6HkvziFIqFqzwjFCx47TQUVflsUB9nGmO-H4rSzmRi9o2e8TbwXooTQr0I4LozvUw/s1600-h/2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivvQ_QP3RjX8gW9txz0B46F9Hjzhbi-grgkUlHQ2tSYkedwzm0yQdm-7d_ehkwZy49ECtzXcn83m6HkvziFIqFqzwjFCx47TQUVflsUB9nGmO-H4rSzmRi9o2e8TbwXooTQr0I4LozvUw/s400/2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121663726512907810" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRNZTj15_vHt8vYieQiVsIFgkYHX59FFiDQhUqbKFxnkDCWgDWj3FhtonS1sVEElmXCoiRUZ75MxCz6nC8V-TImJ7OToxq2etUIl4v7VL7LQRPdg8zEDufQVA2OAeixBfuo7UVC9Ss8Q/s1600-h/3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRNZTj15_vHt8vYieQiVsIFgkYHX59FFiDQhUqbKFxnkDCWgDWj3FhtonS1sVEElmXCoiRUZ75MxCz6nC8V-TImJ7OToxq2etUIl4v7VL7LQRPdg8zEDufQVA2OAeixBfuo7UVC9Ss8Q/s400/3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121663730807875122" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPPeH3eFhiSvSr41imxxFxIWmMhCXBoLtIMHHHKcmQquXpgGsLlqBzR2me-TcDsyCQ0DM-vvmAjbwuOE4IUqnVOmz2H__GkHyvB93kS3BXVCr3gjKfjUGg5mq7ZlnSUNoZne4gbxIHH0U/s1600-h/4.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPPeH3eFhiSvSr41imxxFxIWmMhCXBoLtIMHHHKcmQquXpgGsLlqBzR2me-TcDsyCQ0DM-vvmAjbwuOE4IUqnVOmz2H__GkHyvB93kS3BXVCr3gjKfjUGg5mq7ZlnSUNoZne4gbxIHH0U/s400/4.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121663739397809730" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibHnd-cFQWOdtMTm0vrRsYl6m3f9YIfAG0Ix2mt-IOI8WBHtvqMqWtmkt2aZmkbhUajv1cGPMhA47MBK8fIV0MWxKEzexzw2JOhORb46f-5XDNwPi52eOnTwnEmelTjRB-uTE0BhJSXII/s1600-h/5.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibHnd-cFQWOdtMTm0vrRsYl6m3f9YIfAG0Ix2mt-IOI8WBHtvqMqWtmkt2aZmkbhUajv1cGPMhA47MBK8fIV0MWxKEzexzw2JOhORb46f-5XDNwPi52eOnTwnEmelTjRB-uTE0BhJSXII/s400/5.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121664456657348178" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidPeiYvZuczxt396siZHqn1blbQ6NSUDXbb3vce9cxhSfrqsb0zXz5BpBiyro6jNuteScGILcQgyVLOIHJFhNh6NslIHpdW2_KXTOnL2Ffm2oI-qNw0QUaKrRzrPqMTF-AVq8X_UT8ihE/s1600-h/6.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidPeiYvZuczxt396siZHqn1blbQ6NSUDXbb3vce9cxhSfrqsb0zXz5BpBiyro6jNuteScGILcQgyVLOIHJFhNh6NslIHpdW2_KXTOnL2Ffm2oI-qNw0QUaKrRzrPqMTF-AVq8X_UT8ihE/s400/6.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121664456657348194" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy9mO7JEwQAVSxkqR2dTyl7kUmxdWQGh4yDlL9Qr1qUQFICey81WLKcqoPZOZjQ8GF8K5GyVS0HIHlQKbKnDSze6NmXnTNye00BMeNmmnE2dYqszCG8hfBIXyjT98CuWG6ubK9okJ6qiE/s1600-h/8.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy9mO7JEwQAVSxkqR2dTyl7kUmxdWQGh4yDlL9Qr1qUQFICey81WLKcqoPZOZjQ8GF8K5GyVS0HIHlQKbKnDSze6NmXnTNye00BMeNmmnE2dYqszCG8hfBIXyjT98CuWG6ubK9okJ6qiE/s400/8.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121664460952315506" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUhEQ2eTv9AI-48BO7esgXYfI7_IOUQT6i6805ttEnEY4mUm46hyphenhyphenndERaEMdSeh2Du2tkPk3AnN1WoIToVQAxfciZ-C9csTvHc6tVRpnqJOtDIugGT47nETQK4WrW6kjJ_aXpF8D7m9k/s1600-h/9.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUhEQ2eTv9AI-48BO7esgXYfI7_IOUQT6i6805ttEnEY4mUm46hyphenhyphenndERaEMdSeh2Du2tkPk3AnN1WoIToVQAxfciZ-C9csTvHc6tVRpnqJOtDIugGT47nETQK4WrW6kjJ_aXpF8D7m9k/s400/9.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121664465247282818" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbJpuRKgukwjGEG_wiRINMR-6yVei7fi43dc06OHr9dlPixKV5qtdsaPqo-JMLXrljqkxT5tKY-VADezZNfITQpr1YGhP8Pg5-I7Z5kLkWT13qjrMjK1_kPwA75M0LhNFIsoIpH5ZDCk/s1600-h/10.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbJpuRKgukwjGEG_wiRINMR-6yVei7fi43dc06OHr9dlPixKV5qtdsaPqo-JMLXrljqkxT5tKY-VADezZNfITQpr1YGhP8Pg5-I7Z5kLkWT13qjrMjK1_kPwA75M0LhNFIsoIpH5ZDCk/s400/10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121664469542250130" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAEoQ4XjMvh-VYILGVvYpWS_UfJaQxBiAHUe-jSe2ee43T51Fr9clyBjbZZ9WVJ57PNJwr8IE16OrLxNWI1ybDo0bZ4nFoh66tq-aCtqBXAittodZSif_18X9-oLasNpqvjUkzBpHpn-8/s1600-h/11.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAEoQ4XjMvh-VYILGVvYpWS_UfJaQxBiAHUe-jSe2ee43T51Fr9clyBjbZZ9WVJ57PNJwr8IE16OrLxNWI1ybDo0bZ4nFoh66tq-aCtqBXAittodZSif_18X9-oLasNpqvjUkzBpHpn-8/s400/11.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5121666015730476706" /></a><br /><br />Video<br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=2566253557404399481&hl=en" flashvars=""> </embed>ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1tag:blogger.com,1999:blog-868655242767359379.post-15709066681028065432007-10-09T12:59:00.000-07:002007-10-11T14:42:40.986-07:00Mikrofest VIThe audience piles in to a dimly lit basement. They come across a dingy complitation of objects, bodies, and sounds. Occupying one corner of the basement is a business man, face painted white, arm tangled in a ladder, which leans against his back at a 60 degree angle. He holds a pose and remains motionless. In front of him on the floor is a small boombox, which is playing a tape recording of 2 vocalists throat singing. To the side of him stands an empty children's school desk. Behind: a heap of cardboard with a pair of army boots jutting out from underneath. The audience stares on patiently for something to occur, some sort of action to take place. A minute or two passes, still nothing happens. The recording continues to play. The aduience is quiet, and really quite observant. A few people whisper to each other: "what do you think is going to happen?" "How long can he hold that pose?" 5 minutes pass, the performer's legs begin to tremble, he carefully shifts his weight in minute movents--tension is high. Just then a noise is heard from another dark corner of the basement. It is coming from the dryer. The door of the dryer flies open. a leg emerges. Then another. Slowly, the body of another business man births itself out of the machine. It begins to move in large, quick sporadic movements. It seems to be occupied with trying to pick up a briefcase that has been found on the floor. Both the business man and the briefcase commence across the basement towards the empty desk. On the way, bumping into everything and everyone in every direction. He finally makes it to the desk. In one sweeping motion he bends down towards the breifcase, hooks it with his numb hands, and hurls it atop the desk. Just as the briefcase collides with the desktop the business man with the ladder is startled awake into motion. In the same stiff and sporadic movents as the other performer, he wrestles with the six-foot aluminum ladder, trying to free his arm from its grasp. The audience watches on in awe and confusion, and also fear that this ladder may lose control and come flying out towards them. They shift their attention back towards the other performer, who by now has pryed the briefcase open and is hurling out from it large plumes of white printer paper. The other businessman has set up the ladder and begins his ascent. He struggles with this task, repeatedly bumbing into and falling off of the ladder. The white clouds of paper turn into plumes of of red. The man makes it to the top of the ladder and tries all his might to continue through the ceiling. The red paper plumes decease, the floor now littered with white and red printer paper, and the man with the briefcase brings his hand up from the case to reaveal a red viscous liquid coving his hands. He flings this about, startled by his discovery. A glob of this comes in contact with the man on the ladder, which sends him down the ladder to investigate. He pushes the other man aside and dips his hand into the briefcase pulling up the same red matter. He slaps this hand against the other man's face, leaving a streak of red across it. The man falls to the ground dead. The man from the ladder is left to himself, and begins to ingest the red substance. He chokes, traverses across stage, bumping into the ladder, and falling to the floor, where he convulses until he dies. Stillness sets in, the recording on the tape sets and eerie tone. Just then something begins to stir from under the mound of cardboard. Out from underneath emerges a homeless man, waking up to find this strange inncident on his front porch. He goes over to the bodies and checks their vitals with the heel of his boot. He quickly begins to scavange. he rumages through their pockets, for money, jewrely and smokes. He rolls one of the bodies over, removes its jacket and puts it on. He then looks straight out at the audience, walks right up in front and opens his mouth. He does this, and a current of yellow corn kernels pour from his mouth. He picks up the boombox and walks out of the basement. The End. <br /><br /><br />Here are some pictues taken by David Dec during the performance. It was very low lighting and only a few pictues came out visable. Performers: Ian Picco, Jamie Pittman, Michah. Photographer: David Dec<br /><br />Setting the Stage<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmRvvEwVGpn-D6J-qP_jGohyjwwbKQdX2eepgbmA7gVIVQGeFFPegzAYi0rPNM3DDB1fuFseS208VYgcl0hcNvtHG16h4XvawN6XfnYUMpMYjEDyMI9YgQfmyWlzZTTHWspuUW2Fw-RFg/s1600-h/DSC01169.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmRvvEwVGpn-D6J-qP_jGohyjwwbKQdX2eepgbmA7gVIVQGeFFPegzAYi0rPNM3DDB1fuFseS208VYgcl0hcNvtHG16h4XvawN6XfnYUMpMYjEDyMI9YgQfmyWlzZTTHWspuUW2Fw-RFg/s400/DSC01169.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445053781976338" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1w14ZafEC4lu8aMrvtalhZw3UEmGBUDBQB24OCPSZ2ew2GOLAY-vfe4OMRaoU-SL4kCewA8thzxD4r6rEOVWAGHawkXfRFz05r9QuaAt-HnIrcZ5xIPd1ZwN13_NuRa768OOQgRGjH34/s1600-h/DSC01170.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1w14ZafEC4lu8aMrvtalhZw3UEmGBUDBQB24OCPSZ2ew2GOLAY-vfe4OMRaoU-SL4kCewA8thzxD4r6rEOVWAGHawkXfRFz05r9QuaAt-HnIrcZ5xIPd1ZwN13_NuRa768OOQgRGjH34/s400/DSC01170.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445062371910946" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4HFggQQLDSbFv2VZfDBG8OGeHrjMJfOFVGf-710_bGAZpvUtPbIytiRyz-AmGaIOXtIcw1ls4QawqEfg96jv01yfgZ690pufWhw3yy7j-jxmo4oWuevHHrNFLf8gE7nzb5k_lnqknCuU/s1600-h/DSC01171.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4HFggQQLDSbFv2VZfDBG8OGeHrjMJfOFVGf-710_bGAZpvUtPbIytiRyz-AmGaIOXtIcw1ls4QawqEfg96jv01yfgZ690pufWhw3yy7j-jxmo4oWuevHHrNFLf8gE7nzb5k_lnqknCuU/s400/DSC01171.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445070961845554" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybWO-ExtsitgyLuq3s27CPYVOE6BhLHhCnc4byKJw-9f-suIoo3ixLhPgI3gvmcvgunvEEdU-RFgsH4MTpYnpFWglCjLQ8PYYYT-puLa7ZaybzKGW8fhocsxaKlCpzqU5pI2Xzujphcs/s1600-h/DSC01172.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybWO-ExtsitgyLuq3s27CPYVOE6BhLHhCnc4byKJw-9f-suIoo3ixLhPgI3gvmcvgunvEEdU-RFgsH4MTpYnpFWglCjLQ8PYYYT-puLa7ZaybzKGW8fhocsxaKlCpzqU5pI2Xzujphcs/s400/DSC01172.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445083846747458" /></a><br /><br />The Opening Pose<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1f1iyPINV2-ICjngUdv5c1mBURWm9JbZrwMmsqWoxloSIO5O0OvOPkbK62qpCk5o50ooFGeTZI41MBqakM2xhv5ItrRU8_Z3FVCWGEEmADVIvIMHauoUt972rI__t2tS6PqG4ALtZzY/s1600-h/DSC01175.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1f1iyPINV2-ICjngUdv5c1mBURWm9JbZrwMmsqWoxloSIO5O0OvOPkbK62qpCk5o50ooFGeTZI41MBqakM2xhv5ItrRU8_Z3FVCWGEEmADVIvIMHauoUt972rI__t2tS6PqG4ALtZzY/s400/DSC01175.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445753861645650" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vqXYqevzKLZEaWSYBliKXoRvbiR8MddefKWjEs1oz9QWVcWoMtssQVjIPAF-j7tiOtCsWLrIhIBY4Zg85XB7mzohHtS-ZvZC8FOM9eOPzVaikaGgL0bKdQ2nJnVNDizNaGxMTXw57LM/s1600-h/DSC01176.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vqXYqevzKLZEaWSYBliKXoRvbiR8MddefKWjEs1oz9QWVcWoMtssQVjIPAF-j7tiOtCsWLrIhIBY4Zg85XB7mzohHtS-ZvZC8FOM9eOPzVaikaGgL0bKdQ2nJnVNDizNaGxMTXw57LM/s400/DSC01176.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119445758156612962" /></a><br /><br />The Audience<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBFsvXS1F3IliCTQ0fUHdeoEcq25zXQqFvrh61sP_J8RWzhpYZuuTkfrwvQ-ClaiaJbL1qecbgrZ5y-8CbW4tve5NrcD2g5qyGs2hCqBA3XUE9E4vWJmRpDTM4JSXcwImv04h406CZQh8/s1600-h/DSC01177.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBFsvXS1F3IliCTQ0fUHdeoEcq25zXQqFvrh61sP_J8RWzhpYZuuTkfrwvQ-ClaiaJbL1qecbgrZ5y-8CbW4tve5NrcD2g5qyGs2hCqBA3XUE9E4vWJmRpDTM4JSXcwImv04h406CZQh8/s400/DSC01177.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119446179063407986" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIA__By64QL_C7BG0nG8aBrrw-pLaMqYPFdQj9_2KORuZuRJWoZcDp8IUkdbKO4R-i5TiROfCPl07RamJkjNVhUMUb_AQiY-Cc7utoItOIBW__gqOgZegCUtMCm0VlNfXf0quVSh8PrI/s1600-h/DSC01183.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIA__By64QL_C7BG0nG8aBrrw-pLaMqYPFdQj9_2KORuZuRJWoZcDp8IUkdbKO4R-i5TiROfCPl07RamJkjNVhUMUb_AQiY-Cc7utoItOIBW__gqOgZegCUtMCm0VlNfXf0quVSh8PrI/s400/DSC01183.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119446191948309890" /></a><br /><br />Ascent up the Ladder<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Mt_aEdDqkyKjmIUVdQfQES2tLlMj5v1vo2hYMQr5fc3L5zXJy6ni4Cjd7HwDpobgX0iBG2q_xwhHJyG0bVk9dQcarAFmNMHN5L2XU2AcoBO9PUss8tqWEtemkIq3P0BFF6qLOFgw_SM/s1600-h/DSC01194.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Mt_aEdDqkyKjmIUVdQfQES2tLlMj5v1vo2hYMQr5fc3L5zXJy6ni4Cjd7HwDpobgX0iBG2q_xwhHJyG0bVk9dQcarAFmNMHN5L2XU2AcoBO9PUss8tqWEtemkIq3P0BFF6qLOFgw_SM/s400/DSC01194.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119446509775889810" /></a><br /><br />Blood on the Hands<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PWSSzWBm7XLA86eivVCJU9Y-a543sqGB2w4aS8cHMXDoFWlvDsr7fKXPCKGp6VHYRKw89Z25SGX6bhJ8LquY2Ayx8igdPj83kl75r0ToODwAvgTDU92lG7O2lM5E-upPqZ382J1096E/s1600-h/DSC01195.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PWSSzWBm7XLA86eivVCJU9Y-a543sqGB2w4aS8cHMXDoFWlvDsr7fKXPCKGp6VHYRKw89Z25SGX6bhJ8LquY2Ayx8igdPj83kl75r0ToODwAvgTDU92lG7O2lM5E-upPqZ382J1096E/s400/DSC01195.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119446934977652130" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfzCBvE2k54ul4gkSNe-vbL9Zbza7w9pdkAtjHtSlTwEmcY5EYO2sstFFGdQ5o_5-FkfFWQRzYElxUxvvJcBKTHh-MYFRumHt2b0LgJBHP0Yed133hhb1NW6cVGGT3iD0sMiSuUOb9ZU/s1600-h/DSC01196.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfzCBvE2k54ul4gkSNe-vbL9Zbza7w9pdkAtjHtSlTwEmcY5EYO2sstFFGdQ5o_5-FkfFWQRzYElxUxvvJcBKTHh-MYFRumHt2b0LgJBHP0Yed133hhb1NW6cVGGT3iD0sMiSuUOb9ZU/s400/DSC01196.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119446939272619442" /></a><br /><br />Long Exposure: Homeless Man Rumages<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjev5BZFEMZp6wtbnVZj9gkt0AMK_F0JvTPWXTGwfnP3tm_YgkqTpOKDZUd4PpyJgcEVfATP-4_JbgeiSSOy53QjnLHSaLP_q7L5qBfPJtRA-oCLHFLRu69Pcnr6VjFBu4Bi_2IM-4HmqI/s1600-h/DSC01201.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjev5BZFEMZp6wtbnVZj9gkt0AMK_F0JvTPWXTGwfnP3tm_YgkqTpOKDZUd4PpyJgcEVfATP-4_JbgeiSSOy53QjnLHSaLP_q7L5qBfPJtRA-oCLHFLRu69Pcnr6VjFBu4Bi_2IM-4HmqI/s400/DSC01201.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119447476143531458" /></a><br /><br />Littered Floor<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40x-QMpN2SjtFBQQrLQaFxi_ChJQnGoRE5wd64nwx5AnewVdJt8v-arjyJbce60hYiGvfBopa3mz_JRvZKE069Yx2l4ZYhUE7UJ_BqlI5Dk0lRgBjIubO4ylojKdpeMajOSjoq7HAKFw/s1600-h/DSC01202.JPG"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40x-QMpN2SjtFBQQrLQaFxi_ChJQnGoRE5wd64nwx5AnewVdJt8v-arjyJbce60hYiGvfBopa3mz_JRvZKE069Yx2l4ZYhUE7UJ_BqlI5Dk0lRgBjIubO4ylojKdpeMajOSjoq7HAKFw/s400/DSC01202.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5119447725251634642" /></a><br /><br />Here are some short 15 second video clips captured from David's digital camera. They don't show much, the lighting is dark, and Dave's hand goes all over the place. But you can catch glimpses of things, and at the very least you can hear samples of the vocal recording made by Michah and myself. <br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-3296993258227617904&hl=en" flashvars=""> </embed><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=2961755299432663807&hl=en" flashvars=""> </embed><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=8769930339265350157&hl=en" flashvars=""> </embed><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-564556947407501006&hl=en" flashvars=""> </embed><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=5469366264409093043&hl=en" flashvars=""> </embed><br /><br />I will be posting the full audio recording in 2 parts sometime in the next few days.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com0tag:blogger.com,1999:blog-868655242767359379.post-28741285669569836502007-10-01T13:19:00.000-07:002007-10-04T23:03:35.237-07:00A BeginningFor my first post I thought I'd talk a little bit a bout me and my methods of work, as well as the ideas for the upcoming performances. <br /><br />This fall quarter i will be conducting performance experiments in the form of performance art/street theatre. Let me quickly define what i mean by "performance art/street theatre." There is a line, although hard to draw, between what is considered performance art and what is considered theatre. Performance Art in my understanding is the attempt to integrate the 'human' element into visual art, not neccesarily for a specific audience, but usually constructed for a specific space/location and artistic concept(s). Theatre on the other hand, is an encouter between actor and spectator. This encounter, which at its highest form is a sort of spiritual one, is the aim of the performance. It is two humans meeting each other in a complete and honest way. In this processes the actor gives himself completely to the performance and shares this truthfully with the audience, while the audience or spectator accepts this offering and meets the actor at the same level. The kind of theatre that intersts me is a poor theatre, a holy theatre; that of Grotowski and Brook. This form of theatre does not aim at providing an audience with entertainment, or projecting at specific message throught the text. It's function is merely to evoke associations in the psyche of the audience through a series of specific sounds and gestures. So in trying to categorize the work i'm creating this fall, i'm saying that it lies somewhere between performance art and theatre. I am trying to bridge a gap in order to understand how they wrok together as well as how their functions differ. <br /><br />Theatre does not need a stage, therefore there will be no stage for my performances. We will be in the streets and in any public space we see fit. This could include, sidewalks, parks, alleyways, parking lots, parking spaces, crosswalks, libraries, etc. The audience will not be specific one, there wil not be any advertising, no fliers, no posters. No one will reiceieve and invitaion and you will not need a ticket. In fact, I don't care if there is an audience at all. The people who witness these performances will do so by accident. They will not have planned it. It may be a delightful surprize, a bit of spontineity, or a inconvienent nusance. The audience will be the average passerby, who is going through the everday motions of life: 8:00 a.m. wake up, brush your teeth, take a shower, get dressed, go to work; 8:45 a.m. stop by Batorf and Bronson, get a coffee; 8:55 a.m. catch the dash line up to the Capitol; and so on. Theatre needs an auience, at least one spectator, performance art does not. Performance art is more of a selfish act. An Artist (of any medium) can work out an artistic concept through performance. The concept I am currently working on as a theatre artist is not clear. I know it has something to do with these characters i created last spring. Black suits, white faces, mannequin-like, the empty shells of businessmen maybe. I also wish to penetrate the concept of ritual, which in turn has something to say about our society and in the end reveals a truth about me. <br /><br />Some have asked me about my methods of creating work like this. The answer sounds simple, but for me it can be quite stressfull, scary and unreliable, especially with the pressure of having to create these projects for college credit. It all starts with an image. This image, which is mostly fuzy in my mind, then resonates in my head for sometime until more images occur. This stage can take anywhere from a day to a month in my experience, but as the number of images increase so too does the frequency at which they occur. Sometimes i'll be thinking real hard about what a performance could be and nothing will come to mind. For days it is like this, and then all of the sudden all at once a bunch of great images come to me. Now the images start to take shape. Some are moving images, a gesture, a series of movements, sounds, arual images. It doesn't end there though. At this point i'm just left with a bunch of disconnected, scattered images--peices of a puzzle. It's my job now to try to find connections or a possible sequence of events. I try not to analyse my work as I'm working. I have little concern for what, if any, message or symbolism there might or could be. I just let the images work themselves into something that pleases me or stirs my emotions. The next step is to rehearse and workshop the the images. This is the materialization process--taking images from in my head and making them happen in the world outside. I start to construct the piece by gathering props and sounds, building structures, siting performance locations, then rehearsing and experimenting with different sequences of gestures and events until i/we find something that works. Then from there all is left is fine tuning before it is ready to be performed in public. <br /><br />As I said, the work i will be performing this quarter will all be using the same character which i created last spring. Here is a production still from a peice title "OBJECT. CHAIR. TABLE." <br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUpyXJY2ou2sNaOn7QZrD09gufLVwsLwomdBEtBOcD-dA-1xWKPjpx9OX1kIJpP9lPr-oJqGlBNICqm9pkU1dJV5XffPgxecsWgqg1jbLlJy3AQZmRwKviK-CoDYX6EmIryXOeCqb6lA/s1600-h/_MG_4780.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUpyXJY2ou2sNaOn7QZrD09gufLVwsLwomdBEtBOcD-dA-1xWKPjpx9OX1kIJpP9lPr-oJqGlBNICqm9pkU1dJV5XffPgxecsWgqg1jbLlJy3AQZmRwKviK-CoDYX6EmIryXOeCqb6lA/s400/_MG_4780.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5116486950891431138" /></a><br /><br />There is no use in describing this performance, it was something you would have had to experienced to understand. That's the thing about theatre, it is a live experience. In order to have that encounter, you have to be there, open and willing to engage in it. <br /><br /><br />I have 2 peices I am working on this week. The first is for a performance festival called Microfest, which will be happening Saturday, Oct. 6th at the Red House in Olympia. And the second is for a street performance that will occur sometime next week in downtown Olympia. I have a couple sketches of the peice for the street titled "MILKMEN." Thes are preliminary sketches of the inital image that sparked this piece. <br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-0GhqicedqCKEOZsYGT5JgFMWrDE14N29THUvylsb1FbKN3noKTBxdaQ1IOqIp2h4tOJlz1qJ65L-j0KUqUNHfHcrbCXxRiiuOwClv-Yli8gU9nkIq_AAP8BJ9IFszGrEyB_xj0wMMU/s1600-h/milkman.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-0GhqicedqCKEOZsYGT5JgFMWrDE14N29THUvylsb1FbKN3noKTBxdaQ1IOqIp2h4tOJlz1qJ65L-j0KUqUNHfHcrbCXxRiiuOwClv-Yli8gU9nkIq_AAP8BJ9IFszGrEyB_xj0wMMU/s400/milkman.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5116489343188215026" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Y5wV05LgnZKJyK3CGPcRI5uPPb3nLQXLVf9cb7m_rl_4jor6VuWhjma6zRVO8NU94f6SDNUua5Yvbr9WB_SgHiJvK8CsFIBFcJj6JABHI_EPmq0lW0XAstTDQv4OWeh3QkqV4uxsT8g/s1600-h/milkmen.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Y5wV05LgnZKJyK3CGPcRI5uPPb3nLQXLVf9cb7m_rl_4jor6VuWhjma6zRVO8NU94f6SDNUua5Yvbr9WB_SgHiJvK8CsFIBFcJj6JABHI_EPmq0lW0XAstTDQv4OWeh3QkqV4uxsT8g/s400/milkmen.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5116489347483182338" /></a><br /><br />There will also be a text spoken in this performance by the actors--a sort of a dialouge i created call 'business babel', which spawned from an experience I had while at a sushi resturant involving a table full of businessmen. <br /><br />I'll post a follow up on both of these performances along with some photos next week.ian piccohttp://www.blogger.com/profile/16896116728892813298noreply@blogger.com1