theater: under the radar lights up january; cate blanchett lights up broadway - old school projector

* The frenzy of Lula Del Rey * comes from * Top Secret International (STATE 1)
* From * lula del ray * From * LA mélancolie de DRAGONS * From * Top Secret International (STATE 1)
** Under the Radar Festival of the public number, four of these programs are played during the Radar Festival of the public number 2017.
This is an annual tradition in January and now inspires other similar planning festivals at the same time throughout the city.
In each show, the audience flocked to witness the daring theaters from all over the world at low prices.
You watch the list of shows and want to see everything, a lot of people agree: I believe every show I attend includes standing
Every seat was packed with spectators.
The dream is to discover some new troupes that you can follow them with appreciation for years and know that you see them for the first time.
This year, all four of the works I saw were flawed in one way or another.
But everyone has an admirable element and shows a technical facility or a generous spirit that makes you wish them all the best, even if you notice that they are turning these things into something that has to be donesee theater.
The problems each of them had were simple stories.
They struggle in the story, they ignore the story, or they confuse the information and replace the "different" experience of the story with enough.
The story does not mean a Dickens plot full of dramatic twists.
But even in the most experimental theater, the audience needs something to put on their hats, a sense of spine or progression that lets them know what they are heading, even if it is an elegant, beautiful or helpless moment.
600 passers-by directly challenged the idea of the story.
Their article fever is an experience, an exercise in an experiment (
And some hardcore audience participation)and ritual.
The audience is sitting in a large room and a rectangular seat creates a space in the middle where people act.
Mainly the actors move forward (
And reveal themselves because they were among us, initially unidentified).
They will take some action or call for someone to join them.
First of all, they pick out some people and gently let them stand on the right, or move to the middle, reach out, and so on.
Later, they simply called a person or a few people to do something and wait patiently (
Sometimes without results)
Let people volunteer.
Come with an open mind and you may be very happy if you go out at night.
Several problems have arisen.
First of all, they start acting by implying characters and situations.
The audience was posed and then we were told this was the case-and-
So a party.
Other audiences include guests with beer and plates.
Others were late and we were told everyone applauded when they walked in.
The hostess walked outside and saw the neighbor.
This is very rough, just the most basic detail tip.
Then it fell completely.
Instead, it was a trust exercise conducted at a trust seminar at the corporate retreat.
"Catch Me When I fall?
A performer asked before being hugged.
It was done over and over until it became an interesting ritual too.
However, this is also abandoned for a series of vague, mediocre memory triggers that often try to evoke specific childhood memories, but are so strange, specific and vague,
At the end, one of the characters "(i. e.
Barely aware of the hint of a person)
It was picked up again as if we had been thinking about them rather than completely forgetting the opening of the show.
As the last nail in the coffin, they then read out a text that usually tells us what we just did and want to import: I fell down and you caught me;
I'm so sad. you comforted me and waited.
Unfortunately, actors choose to communicate most of their instructions/conversations in a plain, unpretentious style.
Only one of their troupes brought a sense of drama and personality to his comments.
Others seem to try to stay away from any fun.
Towards the end, the show apparently missed the moment when audience members took the initiative to perform an action until the last actor stood up to fill the gap.
Ceremonies can be powerful dramas without the need for "stories ".
But this is a rambling, unsatisfactory first draft, not a fully formed effort.
By contrast, at least on the surface, Lula Del Rey of the handmade film has a variety of stories.
The troupe combines the old-fashioned projectors used in the school that year, as well as slides, shadow plays, live actors, live music and recordings to bring the animated films before our eyes to life.
It's like half the fun in an old radio show is seeing how they do the audience.
Lula Del Rey has a useful tension: you always struggle between simply absorbing stories (
Projected onto the big screen)
See how the actors below and around create the effect.
Basically silent movies (
Almost no dialogue, just a clip of the song)
It tells the story of a girl living in the desert with her mother.
The girl is passionate about astronomy because her mother has a job listening to information from giant satellite antennas with headphones, an early pioneer job in the space race.
But the mother was too busy to pay attention to her daughter, and the girl put aside this passion for the new crush: rock, especially a behavior similar to that of the Everley Brothers.
The girl ran to the big city to go to the concert, to take risks, and then went home.
That sounds a lot, but in fact, it is difficult to maintain a silent film for 75 minutes without dialogue.
Long stretches in the desert actually contain very few things that we can't grasp in a few seconds.
In general, they may have about 20 minutes. confused)
The story extends to the evening.
To make matters worse, in the final third game, the play completely ruined the storyline.
Of the five very savvy theater audiences, we were all haunted by an inexplicable missing backstage incident and scene.
Flashback in flashback (perhaps)
It doesn't help to combine with mediocre frame structures.
With such a simple story, the first response should not be that the audience does not know if they have missed something.
People don't want to destroy the story by concrete.
It's good enough to watch the actor walk through it.
They may consider a night of two or three dollars, or do more work before a full night unfolds fantasy.
Frankly, the images they create, even without seeing the fun they create, are enough to be displayed in the cinema.
The story is too confusing to condense here, but their work can actually be enjoyed as a final product.
This is a credit for their ingenuity and talent, which is being shown.
But they really need to look at their story structure and realize that it should be so if a story can be told more succinctly.
I don't think the story is far in the mind of French artist Philippe quays, who conceived, created these sets and directed the dragon.
Quesne is shown in the kitchen and as part of the public "non-translation" festival, he creates a kind, smiling atmosphere, and nothing else positive.
He doesn't want. Fair enough.
The stage is a cold scene where a small Volkswagen might be stuck in an open space surrounded by trees and a large trailer hung on it.
Three or four people.
It's obviously metal.
Head, long hair based on their unruly
Listen to AC/DC and the like in the car, jump from one song to another.
An old woman jumped out of the tree, stared at them, turned around the trailer, and said hello.
They rolled out of the car, greeted her like they knew her, and some details appeared.
They're stuck, but they're not the band on the tour.
They are a troupe with a tourist amusement park. it is better to be called a melancholy Park.
As more metal heads come out of the trailer, various elements of the park are mentioned.
They describe every new "attraction" and ask the woman if she would like to see it and show it to her.
This is a joke.
"We can show you if you want. ” “Oh yes, yes! ” she says.
And then they showed it.
Think about the mood created by Finnish film director Aki kaurism äki, all of which is so lacking in self-confidence, shyness and relaxation.
The sights are becoming more and more complex, although only the inflatable vinyl shape is more hidden than whimsical (
Like a library with seven or ten books, a machine with bubbles, or an attraction of water equivalent to the smallest fountain in the world.
Yeah, watch them inflate 12 feet long (or larger)
Vinyl rectangle, with a fan, then inflates and deflates again and again, with a certain element appeal. (
In fact, their parks are built around these elements. )
But the mood is really everyone.
All the people are very caring.
Temper and low profile, from the old man who looks like Iggy Pop to the young member who I call a librarian, they may get all the fans on the tour.
They can't be distinguished apart from the appearance, and you will soon realize that nothing will ever happen.
"Of course, with the dim light, the ending of multiple large vinyl shapes is blown into a rubber forest with certain majesty.
But when many elements of a true story are introduced, the atmosphere creates an unsatisfactory tension.
Too Much (
Eight characters;
Every blur to the next)and not enough.
Finally, I participated in the Rimini Protokoll of Germany's Top Secret International (State 1).
Under the radar, this is really an international thing, and the International Music Festival under the radar can easily be called "International ".
Their experience (
It also has no such story)
Held at the Brooklyn Museum.
You wear headphones and are directed to the various rooms of the museum, the topic at hand is espionage and secrets, and what you are willing or unwilling to do in various moral dilemmas. (
Peek at your partner's laptop when you see a message with an interesting topic head?
Torture someone when a bomb explodes in a minute and 50 people may die? )
It's also an article that goes through jumping back and forth from interviews with various people working with intelligence to play in your mind, thinking about privacy issues, Simon said, like instructions, it makes me feel like they have been with 600.
Don't expect Janet Cardiff-
Enjoy audio experience
The article feels rather confusing, and when you think about where to go next, the interview is played right in your head, interrupted by a brief rough treatment of the art around you and so on.
Nothing is consistent except for the discussion of high-tech monitoring of fuzzy intelligence rambling (
"Privacy is a myth! ”)
The tension between the work of our government and the protection of secrets and the public's right to know, as well as philosophical thinking, moral problems and strange breakthroughs in Egyptian art.
Yes, this is a chaotic situation, though not a boring one, because I am very interested in these issues, whenever the instruction is marked or repeated, you can always see the work shown well.
In fact, it is difficult to judge the program because it is plagued by technical problems.
On the one hand, this is part of the experience --
A program that cannot be delivered under its premises is a problem.
Their questions include that the exhibition was built around GPS devices using public wifi, and of course there are a lot of people in the museum using public wifi.
Of course, they should anticipate this, or know what to do if the show was staged elsewhere in the past?
My Audio got stuck in a loop in a couple of places and the GPS didn't record where I moved correctly because people had to move to certain rooms to record the answers to these ethical questions, which meant the show decided, when I want to say I won't, I'll sneak a peek at my partner's laptop.
This has happened several times, not to mention freezing at the end, with a particularly unattractive "climax ".
If it is to emphasize the state of our surveillance, it fails.
I hope I can experience the show smoothly, but I am sure it will not improve significantly.
In fact, they pretend that you're auditioning to be a spy (
In our case, for the CIA)
Unexpectedly, the Brooklyn Museum is holding a Latin ballroom dance competition, so at the end of the competition, when a couple practice dramatic movements near the sculpture, A group of noisy bond.
If you're playing games, it's fun to see the Brooklyn Museum at least from a new, evil perspective.
I am very happy to wear headphones and delve into the issues between dark international intrigue and personal rights and security needs.
But here, the story is the experience and experience of mixing all these ideas together when guiding the audience through the various steps of the museum, and it is not a satisfactory game or intellectual exercise.
I would be happy if they could do both, but at least I will make an agreement for one or the other.
The desired gift at the ethel barrymore Theater is an interesting thing, and critics are as vulnerable to it as anyone else.
Never doubt that any critic in the world is willing to be surprised and find that the show they think, hear or think may not set the world on fire is actually quite good, good or great, or great!
No one wants to have a bad time in the theater.
They were happy to see a show before the comments came out (
Or just after, it's easy to avoid them)
But still, the word spread, and there was a feeling of acting in the air.
Kate Blanchett has created many works in Australia and brought them to the United States, producing vivid imagination and intelligence with the help of her serious theatrical performances.
Therefore, on paper, any stage performance by Blanchett in a canon play is expected.
But this particular work is Andrew Upton's new adaptation of Chev's first very rough drama, Platonov, and, to say the least, the reputation of those who have seen the show is not enthusiastic
I am worried that the presentation of the cherry garden will be repeated in the fall.
God knows that even the greatest drama of Chekov is hard to achieve.
Over and over again, I saw the talented actors struggling, the night crawling at a slow and painful pace, whether it was the orchard or Uncle Wan Ya, or another undisputed classic.
But this is a welcome respite. This early (early)
The work of Chekhov is provided by Upton with cheeky translations, turning over and over in a specific modern setting, full of vitality.
Chehofer has not found his way yet, but the comedy that often appears in his works is more widespread, more stupid, and more like a farce. The cast —
Led by Blanchett in good form
Tune Upton's tone in and add it up.
They talked to each other and shook their spirits. The story —
Couples involved (in spirit)
They can never really satisfy each other, so be content to disrupt the lives of everyone around them. Oh and money.
Money has always been a problem with chefu (and in life).
Director John Crawley made things fast.
I have to say that the scenic spot design of Alice babridge (
Who made the clothes too)
This is a mistake on the budget.
The relatively simple look of most plays is disturbed by the Brechtian aura they chose for Act 3, a variety of smoke and blurry landscapes, and the characters stumble in the dark.
But there was a chemical reaction from Blanchett and Richard Roxburgh.
You will never doubt their electrical appeal, or why other people will mess up their lives after taking a look at one of them.
When everything is said and done, and the third act really brings a great blow to the momentum of progress, it is insignificant.
But I see more clearly that Chekov is showing a fatal seriousness and a feeling that will never end.
It's far less than Chekov, the feeling he gives is interesting, and it's a relief when you expect so little.
If you leave the theater and listen immediately to Clash's brilliant classic album Call of London, the experience you'll get may be pale next to it, but at least they inspire you to wear it.
The fever in the theater (
Non-translation section of the public)
Lula del Lei (
Non-translation section of the public)
* Dragon Tour (
Public 'non-translated' festival in the kitchen)
* Top Secret International (State 1)(
Public 'T' r festival at Brooklyn Museum)
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Thank you for reading.
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Note: Michael Giltz received a free ticket for the show, on the understanding that he will write a review.
All works are in New York City unless otherwise stated.