One breath at a time

First, a TED (Technology, Entertainment, Design = a nonprofit devoted to Ideas Worth Spreading) talk by Basil Jones and Adrian Kohler of Handspring Puppet Company, the geniuses behind the amazing puppets of War Horse. They talk about the importance of breath for their puppets in performance as it is the essence of life on the stage, or as Adrian Kohler phrases it:

An actor struggles to die onstage, but a puppet has to struggle to live. And in a way that’s a metaphor for life.

They describe their work as "emotional engineering" as they try to provoke an emotional response in the audience by the use of dead objects, and show the great evolution of Joey, the War Horse, who then walks and breathes on stage. It is then truly amazing how the pragmatic production point of view coexists with the theatrical reality of a living horse that needs to be catered to like any other living creature. 

Second, another TED talk by actor Thandie Newton an embracing otherness by coming to terms with one's self and the otherness within in regard to our constructed identities. Thandie then asks whether the aspired authenticity and veracity of the self is attainable at all in a world of projections and whether it would not be more desirable to suspend the self and connect to an essence, i.e. to others and their emotions, for which - again - breath is the key ingredient.

submitted by Kym

Take Heart.... a message from Erik Ehn

Dear Team: 

Three months out. Take heart. We're gathering like a thunderhead; there will be lightning and amazement. 

Some sogginess too I'm sure, but - flowers overall... 

News will come breaking in waves; we're very close to a schedule; the dates of course are committed. 

I haven't heard anyone say it will be impossible for them to make it; some projects are needing to make cunning adjustments - but these tactics are bearing fruit. We hold to the notion that the work must be perfect... To this end: 

If life moves for you like it does for me, then likely you find yourself already projecting into the future... At a conference this summer, a speaker pointed to a language where the geography of past and future are reversed (from English). Rather than saying "the future lies ahead" or "the past is behind us," the figures run "the past is always before me" and "leave the future behind you" - in the sense that we always build, make, operate on a field immediately before us that's composed of our history - our experience, our expertise, our wounds, our treasure... Every time I open my eyes on the world I'm holding the view in place by means of the past - that's a tree, that's sunlight, that's a responsibility, that's a distraction... on the basis of learning. I reach to what I may do through the field of the past. 

With that in mind, as we plow into the fall and grow into the low-grade blindness and anxiety that passes for functional accountability in daily life, let's hang on to the past we've built so carefully, as a collective, over these years. I'm asking you to keep Soulographie right in front of you. Other things will call for your attention - many things - countless... Our performances will equal who we are, in the evolution of our craft, in the company of trusted collaborators, in a live moment of expression. We're the right people; fully present to each other, we're perfect. 

Keep me, Meredith and Soulproducers up on where you're at and what you need. Given the resources of time and space, how can we show forth your identity as a maker. Where are you at? 

Gather energy. We go deep into the view. After so long a road, we're about to find shelter. I can't wait to be with you in the new ways, so nearly available. 

Much peace, 

E

Set Design

As we are approaching design week, our set designer Oona Curley has forwarded us some images of her research, which includes images of nature overgrowing man-made objects, related textures, and shelters - but also first images of the model for the set, which has to accommodate our production being on the road. 

Research:

 Model:

submitted by Oona Curley

Costume Research

Our costume designer, Sara Ossana, has forwarded us her research regarding the costumes for our production. She is looking to anchor the piece with a unit costume modeled after the concept of the Campesino(a) - this represents the peasant / farmer / working class in Central and South America. There are still large populations of Campesinos across Latin America and it is a fairly universal identity throughout those regions. You will find people who identify as Campesinos or Campesinas from Mexico to Peru and Colombia; they tend to come from the "mountains" or more rural regions of these countries but they are really everywhere. As these are the peasants or working class, many of these people are closer descendants of the indigenous cultures throughout Latin America. They also tend to have darker complexions and fall towards the "Indian" end of the mestizo spectrum. There is racism in Latin America, typically the darker the skin (more Indian) the more marginalized the person. This is still very strong even today.

The overall look of the Campesino has not changed much for the past 100 years. They are characterized by a cotton or a cotton blend shirt and pants, although jeans have become affordable enough that they sometimes replace the typical cotton pant. There is also a signature hat, although the silhouette varies depending on the country. In Mexico, El Salvador etc., the hat is more of a traditional "cowboy" hat; as you move further south it is a variation on a fedora with a very small brim. The hats are worn by both men and women.

They also wear either work boots or more traditionally a huarache or sandal, typically made using old tires for the sole and leather strapping tied around the ankle. This footwear was made famous by the Tarahumara who run 200 mile races in handmade huaraches.

Other implements that a Campesino would carry are a bule, which is a dried gourd used as a canteen with a leather strap tied around the neck. Contemporary Campesinos would also always have a machete on hand. 

All of these images range from the 1980's to now, all over South and Central America also. Sara thinks about using the Campesino as a unit or base costume with possibly a mixture of hat styles for the actors, representing the different regions. The actors will all have a cotton shirt and pants, ideally in a light tan color with huarache sandals or some type of sandal; possibly the women could apply their skirt as an apron when playing Yerma or Medea. We would introduce the elements of the "conquest" - "soldier" or occupier - and "original" Aztec or Mayan Warriors and other strong indigenous and historical symbols and iconography through the use of silhouettes and signature pieces or strong singular gesture pieces. 

For example, for the Spanish Conquistador, we could construct a simple silhouette piece that gestures towards the shape of the conquistador helmet and is identifiable but not a "real" helmet; or an Incan or Aztec head dress but out of a simple material, not realistic yet suggestive, relying primarily on silhouette; or simply boots to represent the modern "soldier". 

These pieces can either be worn by an actor or held in place by one actor for another, like a prop-costume or a full scale human puppet costume piece, relieving the need for individual fit and allowing for use by multiple people without the need for any quick changes. The nurse would be in a typical, generic nurse uniform and the driver could be in a slight variation of the Campesino silhouette to distinguish him. 

submitted by Sara Ossana