Livestream Theater
THE DAWN OF A NEW LANGUAGE
ON DEVISING “BECOMING A ROSE”
Livestream Theater: The Dawn of a New Language
“Genet’s books are brothels, in which you slip in through a crack, hoping that you will not encounter anyone; as soon as you are inside, you appear to be completely alone”
"BECOMING A ROSE: An Artist's Survival Guide According to Jean Genet" is, in essence, a peek into my private world of dreams, sexual fantasies and the incantatory rituals of the theater. It is a bold and uncompromising exhibit of art aroused by sexuality and a celebration of my creative communion with Jean Genet.
I'm first and foremost an ImageMaker, a Sensory-Somatic Artist who communicates and expresses through images: visual representations of an idea as well as sensory-somatic impressions recorded in our unconscious. These images, in addition to the written word are the fundamental building blocks of Luciani's Absolute Theater's Sensory-Somatic theater language.
At first, the idea of virtual theater, a theater without a live audience ... without the traditional four-wall space did not sit well with me. I rejected the idea the same way that as a photographer I dismissed digital photography or as a filmmaker put down videography. But, after the initial judgement, it became clear to me that virtual theater is not just a digital recording of live theater nor just a product of social distancing but a full blown new theatrical language. Just like digital photography and video share some components with their analog counterparts, the livestream virtual theater language contains some common elements not only with traditional theater but also with film and video.
Devising BECOMING A ROSE for livestream theater both, challenges me to remain true to the Sensory-Somatic language and, offers me the great opportunity to create using some tools, that in my opinion, are unique to this new theatrical language.
I performed my first play in a friend's living room and my first theater ensemble operated out of a small basement we transformed into a small theater. These were just the first in a series of living rooms, garages and small theaters in which I have performed my plays throughout my career so, I think it's safe to say that my theater work is personal and intimate in nature. As member of the audience, I also prefer to watch plays , physical theater and dance performances in small spaces and, if possible, I like to sit in the first row so I can smell, see -and sometimes get splashed by- the performers' sweat, hear their breathing, etc. In sum, I like to take advantage of the opportunity that only live performances can offer us of immerse myself in the show or, invite my audience into my world. I supposed that is why I devised the Absolute Theater's Sensory-Somatic language but, although I have tried it, I'm not a fan of participatory immersive theater or forcing the audience to take part of the production. I believe in a voluntary connection with the audience through the senses: a reciprocated sensory-somatic seduction but ... no matter how small of a theater you are in or how close you sit to the performers ... we are not alone, there are other members of the audience and cast there to break the magic spell that is bringing us together.
There are many other unique components of the livestream theater language that fascinate me and I'm excited to explore but, it is the "intimate" quality of the virtual connection with each and everyone in the audience what makes this platform the right canvas for my work, the perfect "crack" -as Sartre puts it- through which to slip "alone" into my sacred creative space without anyone around to judge you ... just you, me and Jean Genet.
No More Masterpieces
EXPERIMENTAL ART IN MODERN SOCIETY
“No More Masterpieces”
Experimental Art in Modern Society
Although in “No More Masterpieces” Artaud was mostly referring to the value of producing previously written “masterpieces” that, in his opinion, not always represent the society at the moment in which they are produced, his words also define the current situation in the arts. Experimentation is a luxury that most artist can not afford and the creative process is often of no value unless it concludes with a product and hopefully … a masterpiece.
Financial and other socially imposed limitations restrict artists’ creativity and bound them to schedules, deadlines and the contractual delivery of a finished product.
In the very few occasions when I was able to recruit actors to join my theater company with the sole purpose of experimentation, they got antsy after a little while and I had no choice than to come up with a “project”, deadlines and a promise to deliver but, I’m not complaining … after all, in most cases they were not getting paid so expecting something concrete in return it’s understandable.
I myself often get haunted by the ghost of “completion”. I’ve been pressured and derailed many times in the past and probably will again in the future. I have lost my path before and have “judge” myself for either not “delivering” or “producing” works that I’m not proud of. I have in many instances broken the oath to my beliefs and fiats by compromising my work to please others.
As a sensory-somatic artist, I truly believe and do my best to “live in the present”. Too busy looking backwards or planning for the future, we forget to enjoy the moment … like waiting for prince or princess charming not noticing that he/she is right there beside you.
By sharing on this site some “registered” moments from the creative process of both “finished” and “unfinished” works, I hope to shed some light on my views on transcendence through art, the idea that art could never be considered “unfinished” but “transmuting” and “ongoing” and that like emotions and sentiments, there is not such thing as a single “masterpiece” but “a myriad of unique and essential pieces masterly interconnected”.
ALSO ON THIS THREAD
Exploring Old Visual Concepts
REINVENTING THE PHYSICAL SPACE
The idea of creating a virtual stage: a physical performing space that would include the metaphysical elements that virtual theater brings to the table, made me revisit SPAZI: a series of photographs I created years back inspired by the works of Italian surrealistic artist Giorgio de Chirico.
Reinventing The Physical Space
The idea of creating a virtual stage: a physical performing space that would include the metaphysical elements that virtual theater brings to the table, made me revisit SPAZI: a series of photographs I created years back inspired by the works of Italian surrealistic artist Giorgio de Chirico.
TO BE CONTINUED
The Virtual Theater Language
BEYOND THE FOURTH WALL
I believe Virtual Theater to be a brand new creative language. While it might share some structural and methodical elements with other languages like live theater, film and video, it also contains unique methods of communication and artistic expression. To think of virtual theater as recorded or broadcasted theater or, as a video or film adaptation of a stage performance, would not only be a shortsighted vision of the platform but also a misapplication of its creative and communicative potential.
The Virtual Theater Language: Beyond The Fourth Wall
I believe Virtual Theater to be a brand new creative language. While it might share some structural and methodical elements with other languages like live theater, film and video, it also contains unique methods of communication and artistic expression. To think of virtual theater as recorded or broadcasted theater or, as a video or film adaptation of a stage performance, would not only be a shortsighted vision of the platform but also a misapplication of its creative and communicative potential.
RELATED POSTS
Making Sense
A RESILIENT BRAIN STUDY
BARE CHARACTER STUDY VIDEOS
Actor: John-Riley O’Handley
The Bare Character Studies Videos: A Resilient Brain Study
The Bare Character Studies; a series of videos exploring the Bare Character approach beyond the the theatrical language, are perfect examples of what I consider to be very valuable work that could only be shared on a laboratory platform like the one I’m proposing with this website.
Even though the actors participating in the project were aware, from the start, that this was meant to be an experiment and, that the final video was to be just a recording of where they stood after the training and - not a demo reel or promotional video - the end results weren’t exactly what we were expecting so, mostly in consideration for these actors who, no doubt would have been judge by the video and not by their hard work and great spirit of experimentation, I shelved these videos and never shared my findings with anyone until now.
I will be revisiting my notes and sharing with you some of what we discovered about the connection between an actor’s instinctual impulses and his rational approach to acting. I will be reopening this project online for discussion and possibly, further experimentation.
TO BE CONTINUED
TRANSCENDING THE IMPERMEABLE MASK
Like many of my other ideas, projects, realizations, etc., the visual representation of my current personal and creative life came to me in a dream. There I stood in front of a group of people fighting to break out of this impermeable shell - my public self - which with age and the loss of my senses have become hardened and stronger in the last few years. After I woke up, I was able to put everything into perspective and visualize the path to follow to avoid loosing myself completely and becoming the mask.
Awakening The Energy: Inside Out - is the second session from the Awakening The Energy series. After shooting “Recharging”, I thought it would be interesting to play with a “physical shell” rather than just an imaginary one. The large plastic bag I used for these photos not only provide a visual aid for others but more importantly, it helped a great deal in recreating this “bubble” which was both suffocating and isolating, as well as, protective and comforting.