Issuu on Google+

17 BORDER CROSSINGS // 17 FRONTERAS

a new performance work by Thaddeus Phillips


17 BORDER CROSSINGS // 17 FRONTERAS

Director & Creator of RED-EYE to HAVRE de GRACE & WHaLE OPTICS, Thaddeus Phillips steps back onstage to weave together real adventures of international border crossings into a dramatic examination of imaginary lines, arbitrary passports and curious customs. 17 BORDER CROSSINGS explores a world opened up by the fall of the Berlin Wall on 11/9/89 and sealed off by the events of 9/11/01 and re-imagined after the Arab Spring that began 11/17/10. Phillips embarks on new territory by stripping the stage bare to create a deceptively simple stage voyage that takes audiences to the frontiers of Bosnia, Cuba, Morocco, Brazil, Serbia, Colombia, Bali, Holland, Czech Republic, Israel, Croatia, Jordan and Mexico.

Phillips has traveled extensively over the past 15 years to research material for the creation of original theatrical projects (‘LOST SOLES’ in Cuba; ‘¡EL CONQUISTADOR! in Colombia, ‘CAPSULE 33’ in Serbia; ‘THE MeLTING BRiDgE’ in Brazil & Mexico; ‘THE EARTH’s SHARP EDGE’ in Morocco, ‘THE FILAMENT CYCLE’ in Bosnia). During this period of travel and research, he has collected a variety of international border crossings stories that range from Jordanian guards having an absurd but very serious discussion about his identity due to an old hair cut in his passport photo, to Colombian DAS officials planting cocaine in his suitcase, to being deported out of Denpasar’s airport in Bali. However, none of these stories have ever been used in a theatrical work. 17 BORDER CROSSINGS//17 FRONTERAS will be an investigative & visual solo theater work inspired from this material. The text for ‘17 BORDER CROSSINGS’ was developed through a series of touring workshop performances in which the border crossing stories were edited, refined & put into second person. This project has passed it’s final phase of development and is ready to go into FULL THEATRICAL PRODUCTION. 17 BORDER CROSSINGS // 17 FRONTERAS


STRUCTURE 17 BORDER CROSSINGS//17 FRONTERAS will take the Spalding Gray monologue format and fuse it with various performance styles to create 17 ‘mini-plays’. At one far end of the stage will be the classic Spalding Gray inspired wooden desk, with a microphone, glass of water and notebook. In the center of the playing area, each border crossing will be staged with a transformative use of the ‘Light Bar’ that will morph into the radically different geographic locations. The 17 ‘mini-plays’ will range from 1 to 20 minutes long and be self-contained, each with their own style, rhythm and dynamic. Some will be humorous, some intense, some hyper-realistic, some metaphoric. Each of these ‘mini-plays’ will be framed by ‘interludes’ - accounts of passport and travel documentation history, an analysis of the US passport and all it’s symbology, facts, images and myths from borders the world over. The ‘mini-plays’ provide the theatrical & dramatic content, while the ‘interludes’ provide history, theory & footnotes. The spark for the creation of this new work came from friends who always insisted that these stories were often more interesting than the material that would end up in Lucidity’s shows. Images, ideas, characters, languages, and concepts from past LSI works appear in some way in ’17 BORDER CROSSINGS’ - in an artistic sense, it is a retrospective work and a performance style never been attempted by Phillips before.

STYLE The performance style for each crossing will take inspiration from different sources such as: Stand-up comedy, the films of Emir Kustarica, the floor shows of the Tropicana in Havana, musicals about Austria, cheap magic, Native myths of the Arizona desert, 1960‘s French Cinema and even Northern Mexican chilli relleno recipes. The use of language will be a major theme in the work and two versions of the narrative text of the ‘interludes’ will be written and performed, one in English, the other in Spanish. (English performances will be titled ’17 BORDER CROSSINGS’, Spanish performances ’17 FRONTERAS’) Both versions will include dialogue within the 17 ‘mini-plays’ in Slovenian, Hebrew, Serbian, Czech, French, Italian, Arabic, Portuguese, etc.

THEMES Thematically, the themes to be addressed in 17 BORDER CROSSINGS//17 FRONTERAS are the artificiality of borders, the history of the passport, geographical conundrums & contradictions, and what arbitrary lines do to people, families, cultures, nations, the environment and civilization as a whole. Stylistically this work aims to create a deceptively simple performance. Much of Phillips’ past work has involved complex sets, use of video, and many scene changes. For this work, Phillips will be stripping away his usual artistic crutches and seeking to hone his skills in creating something purely theatrical.

17 BORDER CROSSINGS // 17 FRONTERAS


THE BORDERS #1. HUNGARY//SERBIA (1999 via the ‘Balkan Express’) #2. ITALY//CROATIA (1993 by Ferry) #3. CZECH REPUBLIC//ITALY (1998 by Train) #4. MOSTAR //MOSTAR (2012 by Sound) #5. ISRAEL//JORDAN (1999 by Foot) #6. JORDAN//ISRAEL (1999 by Bus) #7. HOLLAND//FRANCE (1994, by Bus) #8. ANYWHERE//COLOMBIA (2011 by Plane) #9. AUSTRIA//GERMANY (anytime, by Chairlift) #10. SIDI BOUZID, TUNISIA (2010, by Fire) #11. CANADA//USA (2005 by Telephone) #12. SINGAPORE//INDONESIA (2000 by Plane) #13. SPAIN//MOROCCO (2010 by Ferry) #14. CUBA (2000 by ’57 Chevy, Banana Taxi, Horse & Carriage, 1954 Buick and Opel) #15. COLOMBIA//BRAZIL//PERU (2009 by Moto-Taxi) #16. ANYWHERE//USA (2002, by Plane)

17 BORDER CROSSINGS // 17 FRONTERAS


WORKING PRODUCTION PLAN 2013

JANUARY to MARCH - final text, designs finished

APRIL - Live Arts LAB showings -

JULY JULY 1st to JULY 10th - TECH REHEASALS at BUNTPORT THEATER in Denver. JULY 11th to JULY 28 - THREE-WEEK run at BUNTPORT THEATER in Denver. This will be a working performance run, set up to experiment with scene order, and to tighten the show.

AUGUST - Tech & Previews

SEPTEMBER - WORLD PREMIERE at the 2013 PHILADELPHIA LIVE ARTS FESTIVAL. Ideal Venues are THE ARTS BANK, PLAYS & PLAYERS or new LIVE ARTS VENUE

FALL 2013 - TOUR to Miami Light Project & San Francisco International Theatre Festival

17 BORDER CROSSINGS // 17 FRONTERAS


TEXT SAMPLE BORDER CROSSING #9 AUSTRIA//GERMANY By CHAIRLIFT 2005 TRAVELER

For no particular reason whatsoever, you are in a Chairlift in Austria. AUSTRIA is a Cliche of itself —  Yes the HILLS ARE ALIVE,  with the SOUND of Music.  and you can almost see Maria and the many Von Trapp children   Grettel, Brigeet, Liesel, Martha, Fredrick and two or three others —  running, rolling & falling down the mountain.  It is summer and your realize you have never been on a chairlift without Skis or a Snowboard and you do not know how you will get off the Chairlift. The top of the mountain approaches, and in an abysmal attempt to dismount you fall off the chair lift hitting the green Austrian grass with your face. You get up, brush yourself off, you notice a sign that says:

Willkommen in Deutschland Welcome to Germany. Wow.  You just crossed from Austria to Germany via Chairlift. And then you look around and notice something Strange -  Something is not quite right, because Germany looks just like Austria.

17 BORDER CROSSINGS // 17 FRONTERAS


LED SCREEN

DESIGN - ‘BORDER WALL’ 17 BORDER CROSSINGS is played on a decptivley simple playing area. The stage is open

STEEL CABLE PULL

miniatures - fences, sand in suitcases, etc

BEDOUIN TENT RAFT

17 BORDER CROSSINGS // 17 FRONTERAS


LED SCREEN

DESIGN - ‘LIGHT BAR’ LIGHT BAR

outlight

outlight downlight

downlight LED SCREEN

MEXICO

projector JUMP SEAT HEADLIGHT

place fans on boxes for flight to amazon

camera

U

S

A

LED SCREEN

HEADLIGHT

17 BORDER CROSSINGS // 17 FRONTERAS


LED SCREEN

DESIGN

LIGHT BAR & BORDER WALL

STEEL CABLE PULL


WORKSHOP PERFORMANCE IMAGES

17 BORDER CROSSINGS // 17 FRONTERAS



17 BC test