Not that I wish the onerous reading/watching of this on anyone...
A Memory of a Memory (of a Memory of a Memory)
20 hours ago
Redux One: microphone, breath, gesture, encouraging wordsThe moment that Angela described to me was from the conversation: I said "it was my fault" very quickly before moving on to phrases like "it's okay now." She thought that revealed the depths of the pain that the rest of the conversation was trying to hide. With my trusty smartphone I recorded phrases that I'd heard a lot in relation to that event. These were all phrases that friends and strangers said in the hopes of encouraging me during a difficult time. I and played them back as I stood at a microphone, occasionally repeating "it's my fault" along with a couple of gestures suggested by my chat with Angela. I felt the mic put me "on the spot" and (obviously, but also metaphorically) amplified the "it's my fault" over the litany of encouraging words. It also picked up my breath; along with the gestures this was both expressive and purposefully awkward, meant to be incongruous with the microphone's insistence on polish.
Noelle described my breath in the microphone as particularly striking.
Redux Two: structural reinterpretation Again, I had an intro featuring slips of paper, a conversation (this time with a microphone), and a phone call that interrupted the conversation. It was certainly more distilled, though not necessarily more interesting; but Cecilia's script showed me where and how I could improve mine by revealing what were, for her, the most striking ideas of the piece.
|Joan Howard and Nkechi in In-to-me-see by A-Lan Holt. Photo by Jim Norrena.|
|Marlene Yarosh and Soren Santos in Summer by Madeline Mahrer. Photo by Jim Norrena.|