TRIPTYCH - A WORK ON THE MOVE
Playing with the audience’s sensory perceptions,
form 1 dives into a dimension between the underwater world and limitless OUTER space...
ARCHAIC /ELEMENTAL/ ENERGETIC PULSES/ MYTHOLOGIC & COSMOGONIC AURa/SHIMMER/ EMERALD GREEN/AMBER/ WONDER/ ETHER
2. Form 1 introduces a threat contradicting the Mother’s vision. RAY’s empowering aura as an archetype, symbolic of wealth garnered from the need for tentacular power. In the present story his overbearing presence is linked to plastic in all its toxicity.
The second part of Form 1 (the threat) occurs with a sudden shift. A door opens as RAY appears in the distance: a shadowed contour against the light. As he walks slowly forward, representing “anti-light”, RAY’s silhouette acts as a vacuum, a black hole. He is a fulcrum: a counter energy which eventually sucks away the vibrant energy of the vivid folk dancers.
The Rock which previously acted as the solid anchor then transforms and expands into a shimmering plastic wasteland. The landscape seems as dry as the surface of another planet. RAY remains oblivious to the changes and keeps holding his cellphone, as though he is in the middle of a party - the only visible guest. Simultaneously, at first at his feet, then climbing all over him, a girl-like octopus struggles.
Finding himself alone above the void, RAY collapses and Te Wheke rises again. RAY stands up then Te Wheke falls and so on... They are two entities unable to co-exist, until from the point of collapses, they finally meet face to face. Their confrontation wavers like the needle on a balance-scale – the clash of two primordial entities (ie: Te Po, Te Ata/Powers of Night/Powers of Light). The reunited whanau force them to lean one above the other, alternately. They are symbolically “mothering” their duality, ad libitum.
2) BRINGING YOU BACK TO THE SURFACE OF OUR HUMAN DIMENSION, THE FILM BEGINS ...
The LIGHT COMEs IN: ALL DETAILS, places, characters AND SOUNDS EMERGE UNFOLDING A DIFFERENT KIND OF STORY
Metamorphosis. Phantasmagory. Ambivalence of perceptions. Telluric forces. Unpredictable clash of dimensions. A cinematographic work of sensations.
Five elements. A family
An old Mother losing memory
An ancestral Maori tattoo motif
A powerful tentacular man. Lobbying.
A rescued Octopus, the great unknown
THE FANTASTIC MIXES WITH THE REALITY OF THE CHARACTERS
- DALMAN, an actor, desperately wants to find visibility in the cinema industry by obtaining the role of Taliesin, the bard capable of the most famous metamorphoses in the Pendragon cycle. - OWEN, a designer in the aerospace fields, is face to face with a gigantic creature, a military aircraft, as majestic as confronting, threatening, invincible, a real contemporary Dragon. - JOE, a private driver, by his ambiguous relationship with his new client, RAY, a corrupt powerful man, is in internal conflict. His code of honour, in this dominant-dominated role that he could overthrow, is put to a severe test. Chivalrous ethics invoking the disregard for profit in the service of a valorous cause. - PATRICIA, a landscaper thanks to her knowledge of Nature is anchored and identifies herself with the nourishing element. The tree in Celtic culture is sacred, link between the three worlds: terrestrial, celestial and underground. It is the symbol of the universe.- WENDY, the Mother, is an obscure and pure entity of desire. Woman with an ageless beauty, strong charisma. Queen- woman, powerful and zealous: mirror entity of a past matriarchal society.
Image credit France Hervé
and here comes RAy, Joe's new EMPLOYER... A well groomed enigmatic man. so much in control of his world he is intouchable.
Image credit France Hervé
It is at the center of this symbolic meeting, almost telluric between the elements, that the Octopus appears. In the film, she augurs the dreamy rebirth of the Mother, as the reconnection of the divided members of the same family. In the Inter-arts form, the Octopus will find its place singularly. In an empirical and all-powerful way. Fears, Amazement, Wonders, Discoveries. Without trying to elucidate anything, FORM 3 opens the fields of possibilities in a variation of scenes more evocative, than explicit.
WHY THE OCTOPUS?
3) INTER ARTS DEPLOYMENT a time space abstract odyssey
Image credit Candas Sisman
FORM 3 begins with the revealing of an interior : JOE’s house with a view on the botanical garden. We recognize it immediately from the moving pictures sequence. The full dimensions of the set creates the impression of having entered the film.
The Mother's bedroom next door is now the one for the Octopus about to be released into the ocean...
This set includes realistic elements (sofa, table, fridge, bed, aquarium), as well as supports for back projected images: windows giving impressions of the exterior world, walls to give the illusion of a doorframe view, inside the aquarium reflecting its inner world...
On stage, the characters of the film appear live, played by the same actors.
They are at the point the audience left them on screen... At a turning-point.
New scenes-tableaux unfold (in real time and virtually) enriching the elements perceived though the film yet in this hybrid inter-arts format, the scenography keeps opening up perspectives and spatial shifts.
The apparent domestic situations revealed in the film are revisited, transformed and elevated into the EPIC. Like for the choreographic anti-gravity opening, the heroes exits in multiple and simultaneous space time dimensions.
The morphogenesis of the living and the presence of the inanimate come together. Little by little, this unexpected fusion allows the audience to identify everything they witness within a state of perpetual change and impermanence. A man turns into an Object that will become a Light, then Sound, then Man again...
Within this mode, the SET begins to take on a life of its own. Not unlike the Octopus.
David Altmejd et Jon Rafman