![]() Multimedia adviser: Ruppert Bohle MUSICIANS ![]() Park, Prince Rozario, David Rueckert, Mike Solo, Tate Siev Srey, J Stutt and Gail Scott White. Rebecca Kimmel, Jayeun Ko, Ioulia Kouskova, Hye-kyung Emily Lee, Hyeki Min, James Allen Orr, Jin Hee Pak, Sunyoung Wylie, Taylor Coffman, Jen Haefeli, Chris Parsons: vocalsĬhris Andrews, Soo Jeong Bae, Eric Brody, David Danner, Ahmet Dillice, Young Gi Hong, Won Hee Jung, Pat Kelly, Sean Lovelace: samplers and other electronics Stage managers: Kira Hoffmann and Liz Welke Lighting and scenic design/production manager: Dan HobsonĬostume design: Terral Bolton and Stephanie LundyĪutomaton design/sculptor: Robin HernandezĬomposers: Sean Lovelace, Kelly Wilson, Matt McGarraghy, Multimedia and scenic design: Gail Scott White The show cinematically unfolds a world in which humans attempt to connect in the flesh, enmeshed in a technosphere of GPS units and satellite dishes, chat rooms and web servers, spy cams and predator drones. This production's script consists of synthetic fragments, passages of original writing interwoven with found texts, depicting a kaleidoscopic love story of digitized desire in a near-future society. The production was developed, with new media scenographer Gail Scott White and other collaborators, as a showcase for our "live movie" aesthetic. Silence & Darkness uses cyber tools to depict, dissect, and critique cyberculture. Further development resulted in a revised script and the 2004 premiere production of the ninety-minute work in the Harris Theatre in George Mason's Center for the Arts. ![]() The project began in 1999 with a forty-five minute workshop production by Cyburbia Productions in the Fine Arts Gallery at George Mason University, followed by development workshops and a second seventy-minute studio production in 2001. The multimedia performance Silence & Darkness, a live movie for the cell phone age, began as an exploration of the effects that so-called " new communications technologies " have on our lives, and what broader social transformation they might be part (even symptomatic) of. I create this model for theatre artists and for the live audience. As a writer, director, and projection designer in this age of increasingly distanced and mediated entertainment, I am committed to production as a social process in order to create a utopian model in a dystopic world.
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