Representative Creative Projects
Love and Information by Caryl Churchill – March 2-4, 2018
Images & details will eventually be posted here, but I didn’t manage it before I started at York, so it will be a while….
Intermedia Performance Studio
In 2009-2010, I coordinated and supervised the collaborative project play/share beyond/in. This project (eventually implemented by graduate students from the Department of Media Study at UB) was a technology-driven scavenger hunt exploring the history and culture of Western New York though a series of interactive missions. Using SMS-enabled mobile phones the game brings players through the galleries and installations in the Beyond/In Western New York 2010 exhibition, as well as other sites of historical, ecological, or cultural interest. The game ran twice, once on July 31, 2010, and for two weeks from October 16 to October 30, 2010.
WoyUbu: Watch or Play?
WoyUbu: Watch or Play? was an original translation/adaptation/mash-up of Georg Büchner’s Woyzeck and Alfred Jarry’s Ubu Roi, presented as two connected, simultaneous performances on either side of a wall running through the middle of the space. Upon entering the performance space, audience members choose which side they will engage. On one side of the wall, the audience watched a version of Büchner’s Woyzeck, set against 3D projection animations. On the other side of the wall, the audience interacted with the Ubu characters and participated in the story, including shooting Nerf guns at robots and making mischief in front of a green screen. These antics of the Ubus were projected on the other side of the wall as Woyzeck’s addled hallucinations. For the Ubu audience, the story of Woyzeck was only visible through narrowly focused, low resolution surveillance cameras shown on small black and white televisions. The choice for the audience was thus: would you rather watch, seeing everything but not being able to participate; or would you choose to play and interact with the characters, but sacriﬁce seeing the full version of what you had created? The production thus laid bare the choices for digital manipulations from afar: those who participate and consume technology rarely see the full consequences for their actions, while the passive consumers of technology (the watchers) see more, but can do relatively little to affect what they see. http://ips.buffalo.edu/?p=219
- Buffalo, NY – March 9-31, 2009
- Ingenuity Art + Technology Festival, Cleveland, OH (Featured Artist) – July 14-16, 2009
Related Publications :
- J. Anstey, A.P. Seyed, S. Bay-Cheng, J. Bono, D. Pape, S. Shapiro. “Agent Takes the Stage,” International Journal of Art and Technology 2.4 (2009): 277-296.
- D. Pape, S. Bay-Cheng, J. Anstey, D. Mauzy. “WoyUbu: Experiments with video-gaming in live theatre” Games Entertainment Media Conference (GEM), 2015 IEEE (Oct. 14, 2015): 1-4.
365 Days/365 Plays
In 2004, Pulitzer-Prize winning playwright Suzan-Lori Parks decided to write a play a day for a year. Starting on November 11 (the day Parks began her writing project) in 2006-2007, regional and university theaters produced the full year of Parks plays in their originally written order, occurring simultaneously across the country. The Intermedia Performance Studio (IPS) at the University at Buffalo, in conjunction with the Departments of Theatre Dance, Media Study, and English, presented the week of plays from April 23rd through April 29th as part of its ongoing mission to integrate digital technology, interactive ﬁction, virtual reality, and embodied performance. Within the IPS, Parks plays take on new dimensions through digital characters, audience interaction, and live dancers and actors. The IPS production of 365 Days/365 Plays occurred in two performance, April 26-27, 2007 in the Intermedia Performance Studio at the University at Buffalo. http://ips.buffalo.edu/?p=19
- April 26-27, 2007
- Buffalo News 20 April 2007, p.14
- 365 National Newsletter (Yale University), April 2007
Torn Space Theater: 2010 – present
Since 2009, I have collaborated with the Torn Space Theatre as production dramaturge. Contributions include dramaturgical research, production advising, program notes, and coordination of related events (ex., Marvin Carlson’s visit and lecture in association with Emperor and Galilean, 2012). Past productions with the theater include:
Emperor and Galilean by Henrik Ibsen adapted by Neil Wechsler from translation by Brian Johnston (2012)
- Documentation: http://www.tornspacetheater.com/home/emperor-and-galilean/
- Review, Marvin Carlson, Ibsen News and Comment (forthcoming)
The Outlaw Show, collaboration by Torn Space Theater and The Real Dream Cabaret (2012)
Aunt Dan and Lemon by Wallace Shawn (2011)
Not Not Not Not Enough Oxygen by Caryl Churchill (2010)