And I keep forgetting to mention that we're having an informal showing of the video that I've shot at DPI.  It's being projected inside the building at 983-A Dean St this Saturday, 26th July.  It's designed to be viewed from the street.  The building is in the middle of the block between Franklin and Classon (nearest subway C train to Franklin Ave).  

Weather permitting, Monica Ruzansky (www.monicaruzansky.com) will be projecting her beautiful photography on the surrounding architecture and up on the roof, where we'll be hanging out and having drinks with anyone who wants to drop by and join us from 9pm onwards.  Hope to see you there!

I decided that I wanted to use video projection very early on in creating UNPRONOUNCEABLE SYMBOL, for several reasons. It allows you to very easily incorporate outside material in a way you otherwise couldn’t. In this show in specific, we were able to incorporate a lot of footage, both still photos and video clips, that I had taken in Minneapolis and to have the sort of cold “outside”, urban imagery to contrast with the opulence of the “inside” world that we made onstage with heavy curtains, flowers, purple light and haze. Not to mention the easy ability to incorporate Minneapolis itself into the show, which I was interested in. I’ve also always enjoyed the aesthetic of projected video as I often favor very basic, i.e. transparent stagecraft so having slides appear behind the action appeals to me. Generally, the ephemeral nature of projected imagery, lights and shadows and such is something I really enjoy and think added a lot to our show.

Neal Medlyn

SOHO Think Tank ICE FACTORY '08 : TRACES/fades
July 16-19 Wednesday-Saturday 7PM $10-$15
Ohio Theatre, 66 Wooster St

a meditation on Alzheimer's and our national inability to remember history.
an intergenerational performance that examines the fluidity of identity.

written and conceived: Lenora Champagne
directed: Lenora Champagne and Robert Lyons
featuring: Mary Fogarty*, Judith Greentree*, Joanne Jacobson*, Quanda Johnson*, Matthew Lewis*, Amelie Lyons and Lenora Champagne
music and sound:Daniel Levy and Lisa Dove
video: Shaun Irons and Lauren Petty
lights: Stacey-Jo Marine
costumes: Liz Prince
stage management: Nicole Marconi
assistant direction: Tricia Cramer and Janina Santillan

Red handle's Yellow Electras
PERFORMANCE: July 10 - 19 $17
Ontological-Hysteric Incubator

Red handle creates and presents live performances that crash through boundaries of media, genre, storytelling, and audience.
Red handle's newest remaking creates a new template for an old myth, mixing video, movement, opera, and theatre in a playful series of episodes, interruptions, and entertainments. Following the success of iph.then at the Ontological last summer, YELLOW ELECTRAS is a mash-up of the Electra myth and Kandinsky's Yellow Sound, and includes several Electras, a chorus, opera, dance, and sounds from Strauss, Kandinsky, and & Grizzly Bear.

Writer/Director: Peter A. Campbell
Dramaturgy: Ramona Thomasius
Movement: Laura Ward
Co-Producer: Eve Hartmann
Stage Manager: Christine Vartoughian
Sets + Lights: Peter Ksander
Video Design: Ann LePore
Video Editing + Operator: Laura Keller
Light Operator: Lauren Barbara

CAST:
Laura Heidinger - ELECTRA
Genevieve de Gaillande - ELECTRA
Karen Rich - ELEKTRA
David Gordon - ORESTES
Gavin Starr Kendall - MENTOR/PYLADES
Chorus: Diane Botta, Jackie Byrne, Carissa Cordes,
Annie Deng, Sarah Hartmann, Cindy Kawasaki,
Jaime Lubin, Ashlie Miller, Lauren Ospala,
Marjorie Polunas, Justine Raczkiewicz,
Iracel Rivero, Jennifer Stepanyk, Jenny Vallancourt

Do You Copy? is a multimedia puppet show, meaning that we integrate live cameras with the live puppets. I'm not so interested in making videos, but more interested in finding the interaction between real space and virtual space in a theatrical setting. So Do You Copy? uses live video that is projected back onto a variety of mobile projection screens. And also some video textures that are an attempt to create dynamics of emotion or kinesthetic experience. These textures are used like instrumental music that guides a viewers sensations, rather than direct storytelling elements.

So the actual technology of the show is quite simple. I'm not trying to use any fancy triggers or tracking, just really simple interaction via a live camera.

The 'story' of the piece is also about the effects of technology on one's person. Really about the disparate self created via the neverending supply of digital pictures, email accounts, social networking, site aggregators, chat, etc that in some ways define who we are as individuals. And how much control we do or do not, can or cannot have on creating our own definitions.

The content sounds like a very thoughtful show when i read the above paragraph, but really it's more of an action-packed sci-fi. Here are some pictures of the work we did in April at 10 Jay st in Brooklyn.

Further development is happening at the Little Angel Theater in London this July

and
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Assember Dilator
PERFORMANCE:  June 20,  21 8PM $10
Bushwick Starr

207 Starr St. Brooklyn, NY

ASSEMBER DILATOR is A loud work in progress with Caitlin McDonough Thayer and Mike Sharpie.
Featuring the work of Shannon Sindelar, Mirit Tal, Jon Luton, Andreea Mincic, TaraFawn and Benjamin Brown.

31 Down creates moody, audio-based imagistic work infused with obsession, voyeurism, time and ingenuity; covering such topics as surveillance, privacy, invention and innovation; telepathy, radio, television, the Internet and mass media; sanity, delusions and the last days and thoughts of people’s lives.

Reid Farrington Presents : THE PASSION PROJECT
PERFORMANCE: June 19 - July 19 2008 $20 8pm
3LD Art & Technology Center
www.3LDNYC.org

80 Greenwich Street

THE PASSION PROJECT is spun from the reels of the last great silent film, Carl Th. Dreyer's 1928 masterpiece, "The Passion of Joan of Arc".

With support from
the Danish film Institute and The University of Copenhagen, this performance installation includes every frame Dreyer shot in relationship to the film, including the reels that -- like Joan herself -- were lost to fire.

THE PASSION PROJECT explodes the film into the three dimensions; placing the audience inside the film, sitting next Joan, subjecting them to her interrogators and the relentless rhythm of 30 mm film projection. Using a single live actor and multiple projection surfaces, THE PASSION PROJECT explores the intersection of performance and and film. It uses Dreyer's classic film as the main narrative along with the history behind the making of the film, a discussion with a Danish archivist, the story of making this project, and Joan's story; her trial, torture, and execution.

Directed by Reid Farrington

Performed by Shelley Kay
Costumes by Sara Jeanne Asselin

Set by Janet D. Clancy

and dramaturgy / technical assistance by Stephen O'Connell and Austin Guest.

THE PASSION PROJECT will have its official premiere at PS 122 in the fall.