Christine Marie: Ground to Cloud

22 Jun

Tonight, this FURYFactory intern got to see so much amazing theater at the festival.  The night kicked off with Christine Marie’s piece Ground to Cloud, a performance that incorporates shadow puppetry, folklore, a haunting soundscape, 3D glasses, and live actors to explore the history of electric light.  Check out these clips from Christine Marie to get a feel for the piece:

It’s no surprise that Christine Marie & Ensemble won the award for most innovative theatrical experience from the New York International Fringe Festival in 2010.

Director and creator Christine Marie is an integrated media artist and director. She has been creating original work for over a decade, specializing in experimental spectacle theater, video production and design. She is a former 10 year company member of ShadowLight Productions and has studied Wayang Kulit traditional shadow puppetry in Bali. Christine Marie created puppets for “Pee Wee Live!” Currently she is also touring an installation entitled, “Shadows In Stereo,” an immersive experience in which the audience holds stereoscopic opera glasses as they traverse an atmosphere of 3D shadows.

 

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Campo Santo: 1st element (who shot miguelito?)

22 Jun

Campo Santo’s new performance piece 1st element (who shot miguelito?) explores the history of street art in the Mission District and the history of the neighborhood itself through several vivid, dynamic characters.  This an Open Process Production which will eventually have its world premiere in 2012 at Intersection for the Arts.

This book makes an appearance in the piece

The performers use intricate movement and music to make the Mission come alive on a totally bare stage.  They become the graffiti, murals, and tags that they describe.  One moment that sticks with this FURYFactory intern happens when Miguelito, a brilliant young artist who is tragically shot, and his friend/fan, known as Eclectic, find themselves suddenly and powerfully in love as they walk down the street.  They stand before a mural of a heart, whose colors are deep and layered.  The audience only sees the mural through their faces and their expressions, but it is as clear as if it were painted on the wall at the back of the theater.  It felt like being in a room with two people who are deeply in love — everyone is silent and calm, but you can hear the conversations humming between the two lovers and between the artists and human beings who have been there before them.

A heart from the Mission Dolores mural: Source

Campo Santo’s piece makes the audience aware of the layers and layers of art that adorn the walls of the Mission.  And more than that, the art talks.  You cannot ignore it.  The neighborhood is alive in more ways than you can even count.

Interview with Hand2Mouth

21 Jun

We got to interview Hand2Mouth and ask them about the process they used to create Everyone Who Looks Like You, which ran last weekend at TJT.  They are awesome.

 

Shinichi Iova-Koga Talks about His Workshop

19 Jun

Next Sunday (the 26th) from 2-5pm, FURYFactory presents a workshop with the great Shinichi Iova-Koga of inkBoat.  We asked Mr. Iova-Koga to give us a taste of what’s to come.

 

About Shinichi Iova-Koga

Shinichi Iova-Koga examines, dissects and intentionally blurs the line between various media to uproot and communicate stories contained within the body. He founded inkBoat in 1998 and has been recognized with 3 “Izzie” awards, 1 “Goldie,” and a “Top 25” in Dance Magazine.  Shinichi has engaged in long term and extensive work with Yuko Kaseki, Cassie Terman, Yumiko Yoshioka, Do Theatre and Sleepytime Gorilla Museum.  Single project collaborations include work with Ko Murobushi, AXIS Dance Company, Minako Seki, Degenerate Art Ensemble, ODC Dance Company, ROVA Saxophone Quartet and Anna Halprin.

In December 2011, he and Dohee Lee are featured in a new inkBoat production at ODC Theater.  Shinichi is currently an Artist in Residence at ODC Theater, SF, teaches dance at Mills College in Oakland, and is the father of Zoë and husband to Dana.

How to Register

You can register for the workshop here: http://www.brownpapertickets.com/event/175546.

Interview with Travis Rowland of Deb Slater Dance Theater

16 Jun

We sat down with the talented Travis Rowland, member of Deb Slater Dance Theater, to chat about the festival and his performance background.  You can see Deb Slater Dance Theater’s work-in-progress presentation of Private Life and dreaming on night blooms tonight at 7pm at The Jewish Theatre.

We also asked Travis about Deb Slater Dance Theater’s process and about his training background.

Interview with Inkblot Ensemble’s Justin Liszanckie

15 Jun

Justin Liszanckie is a Bay Area actor working with Inkblot Ensemble in their production of Satellites (a work-in-progress which you can see tonight at NOHSpace, 7:30pm)He plays Jack, a modern man who crosses a threshold into a strange world inhabited by Jupiter’s abandoned lovers.  This is Justin’s first experience with an ensemble-based company and process.  We met with him earlier this week to chat about his experience so far.

This is what’s so great about FURYFactory and doing this show with Inkblot — we have had the opportunity to totally explore.  We haven’t been so focused on the finished product, which is strange for me, but great.  I feel like I’ve grown a lot in the process, or learned a lot.   It’s been fun to explore and see how the piece has evolved.

We’ll get to points and ask, “what’s actually going on here?”  “Why is this character saying this?” “What are these relationships?”  Pretty much everyone throws their hands up and says, “ah, we don’t know!”  But somehow we find a way to discover what those relationships are, and they’ll continue to be fleshed out as the work progresses towards the full production next year.

It’s been a really liberating work environment.  [Amy Clare Tasker’s]  been great to work with. I like the fact that she’ll come in and say, “I don’t necessarily know what’s going on in this scene either.” As opposed to directors who don’t give you any space in which to operate.

I really don’t know what I’ll feel like going onstage on Tuesday and Wednesday when we put this thing up.  But I think it will be some kind of wild ride!

These women are amazing.  They’ve put so much time and effort into this piece.  I’m totally in awe of them, and also intimidated by them [laughs].  Misti and Maria are both in the show and wrote it.  Amy’s directing.  Meg is a writer. And they’re all in the rehearsal room together, obviously.  They’re just so smart and creative and have really created a beautiful piece of theater.

You can catch Satellites tonight at 7:30pm at NOHSpace.  (Go here for tickets.)

Vladimir Nabokov on Synesthesia

15 Jun

Tonight’s production of “Huetopia,” a work-in-progreass by the Stenographers, is an exploration of synesthesia.  One of their inspirations is Vladimir Nabokov, the author of Lolita. Here, in an excerpt from his autobiography Speak, Memory, Nabokov describes the experience of being a synesthete: 

“…I present a fine case of colored hearing. Perhaps “hearing” is not quite accurate, since the color sensations seem to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet (and it is this alphabet I have in mind farther on unless otherwise stated) has for me the tint of weathered wood, but the French a evokes polished ebony. This black group also includes hard g (vulcanized rubber) and r (a sooty rag being ripped). Oatmeal n, noodle-limp l, and the ivory-backed hand mirror of o take care of the whites. I am puzzled by my French on which I see as the brimming tension-surface of alcohol in a small glass. Passing on to the blue group, there is steely x, thundercloud z, and hucklberry k. Since a subtle interaction exists between sound and shape, I see q as browner than k, while s is not the light blue of c, but a curious mixture of azure and mother-of-pearl. Adjacent tints do not merge, and dipthongs do not have special colors unless represented by a single character in some other language (thus the fluffy-gray, three-stemmed Russian letter that stands for sh, a letter as old as the rushes of the Nile, influences its English representation).

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