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DESCRIPTION
17 BORDER CROSSINGS//17 FRONTERAS will take the Spalding Gray monologue format and fuse it with various performance styles to create 17 ‘mini-plays’.TRANSCRIPT
17 BORDER CROSSINGS // 17 FRONTERASa 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.
THE SPARKPhillips 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.
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. USA//MEXICO (2012 by K-Mart Plastic Raft & Ford Explorer)
THE STRUCTURE17 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.
17 BORDER CROSSINGS // 17 FRONTERAS
THE STYLEThe performance style for each crossing {scene} will take inspiration from different sources such as: •Stand-up Comedy •Films of Emir Kustarica•Floor shows of the Tropicana in Havana•Musicals about Austria•Cheap magic •Native myths of the Arizona desert •1960‘s French Cinema•Northern Mexican chilli relleno recipes
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. Also, 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.
17 BORDER CROSSINGS // 17 FRONTERAS
THE THEMESThematically, 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.
17 BORDER CROSSINGS // 17 FRONTERAS
THE PRODUCTION PLAN 2013
JANUARY to MARCH - Development jpifinal text, designs finished, mock up set created at MAPA STUDIOS in BOGOTA, COLOMBIA
APRIL LIVE ARTS LAB TEST showings / readings. Ideally with tech. 2 or 3 presentations with Audience Feedback.
JULYJULY 1st to JULY 10th - TECH REHEARSALS at BUNTPORT THEATER in Denver.JULY 11th to JULY 28 - THREE-WEEK run at BUNTPORT THEATER in Denver.
AUGUST - LOAD-IN & FINAL TECH REHEARSALS to make adjustments from things learned in Denver.
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
THE SCENOGRAPHY {Stage Design}
LED SCREEN
STEEL CABLE PULL
BORDER WALL, LIGHT BAR & TABLE
17 BORDER CROSSINGS // 17 FRONTERAS
U S A
HEADLIGHT
camera projector
HEADLIGHT
LED SCREEN
THE LIGHT BAR
LED SCREEN M E X I C Odownlight
downlight
outlightoutlight
LED SCREEN
JUMPSEAT
The LIGHT BAR is a 4 inch by 16 foot long bar made of aluminum & fitted with various light sources, video camera, projector, and two LED screens. The unit ascends and descends with a counterweight system located inside a classic samsonite suitcase. Most of the BORDERS will be made thought just light - and the sources will vary from Florecent to Radiator Bulbs to harsh Halogen lights.
17 BORDER CROSSINGS // 17 FRONTERAS
THE BORDER WALL17 BORDER CROSSINGS is played on a decptivley simple playing area. On an open stage, fifteen feet back from the front of the stage, will be a 20 foot long by 8 foot tall black wall (constructed of 5 standard 4 by 8 flats. One rectangular window will be in the center.
LED SCREEN
STEEL CABLE PULL
A SIMPLE WOODEN TABLE & CHAIR sits in front of the wall. The BORDER WALL , being black, is essentially not seen, unless light from in front, above or behind. Above it will be a row of lights facing down and front.
17 BORDER CROSSINGS // 17 FRONTERAS
BEDOUIN TENT
RAFT from K-MART
Various elements will be experimented with in the studio, from a K-Mart plastic raft (for the USA//MEXICO border, to a Bedouin Tent, for the ISRAEL//JORDAN border, to various suitcases to Airport Runway lights and wind socks. These elements would appear from under THE TABLE, or inside the Light Bar or through the hole in the BORDER WALL.
SOME EXTRA OBJECTS // ELEMENTS
RUNWAY LIGHTS
AIRPORT WIND SOCK
SUITCASES
17 BORDER CROSSINGS // 17 FRONTERAS
BORDER CROSSING #9AUSTRIA//GERMANYBy CHAIRLIFT2005
TRAVELERFor 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 DeutschlandWelcome 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, becauseGermany looks just like Austria.
A TEXT SAMPLE
17 BORDER CROSSINGS // 17 FRONTERAS
A WORKSHOP PERFORMANCE IMAGE
Taken in Jaco, Costa Rica by Randall Ortega
17 BORDER CROSSINGS // 17 FRONTERAS
17 BORDER CROSSINGS // 17 FRONTERAS