The Ghoul Exhibition is a response to the tragic fact that 90 people are shot in the United States every day. A gripping solo performance by a truly singular voice about one of the inescapable themes of our time. It will be in continual development this year, presented at the 28th Annual Rhinofest, and continue touring prisons across the midwest.
Héctor Álvarez is a writer, actor and director from Spain based in Chicago. He has studied non-Western theater traditions in China, Japan and Indonesia, and in 2008 received a Watson Fellowship to research community-based performance in Latin America. He has a BA in Theater from Macalester College and an MA in Modern English Literature form University College London. As an actor, he has trained and studied with Augusto Boal, Peter Schumann, Malte Lambrecht, and Guillermo Heras and has performed in more than 20 productions. He has been an ensemble member of Theatre Y since 2015.
OFFICIALLY PREMIERING THIS APRIL
Fatelessness is a physical score performed to a radio play (adapted by Andràs Visky and Adam Boncz) from the novel Fatelessness by Imre Kertész.
Kertész is a survivor of Auschwitz and Buchenwald, and the recipient of the 2002 Nobel Prize for Literature “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”.
Visky is a survivor of the Bărăgan, a Communist Romanian Prison Camp, where he was sent at the age of two with his mother and six siblings. He is an internationally acclaimed poet, playwright and essayist and the resident dramaturg and associate artistic director of the Hungarian Theater of Cluj.
Fatelessness has been a physical experiment developed over 16 months, first presented at the 27th Annual Rhinofest of 2016, and touring synagogues, libraries, and homes over 2017.
Perhaps tellingly, the most profound Rhino show I saw was the farthest removed from Rhinoceros the play yet closest to it in spirit. That was Fatelessness, from Theatre Y. Adapted from Imre Kertész's autobiographical Holocaust novel, the 75-minute piece consists of just two elements: (1) a first-person narrative, performed in voice-over, describing a Hungarian teenager's progress through the Auschwitz, Buchenwald, and Zeitz camps, and (2) Benjamin Holliday Wardell doing yoga. Strange as that may sound, the combination expresses both the isolation and the tempering—the harrowing—the boy undergoes. Like Berenger, he's alone in a world of beasts.
- Tony Adler, Reader Recommended.
Featuring Michael Doonan (Voice) , Ben Wardell (Dance)
Dance experiments by Jessica Cornish, Directed by Melissa Lorraine, Sound Design Kimberly Sutton, Assistant Director Aileen McGroddy, Dramaturgy Dan Christmann
A Cinematic Presentation of Ecstatic Evidences from the
Camino de Santiago
Underneath the Lintel (AN IMPRESSIVE PRESENTATION OF LOVELY EVIDENCES) by Glenn Berger was first produced in 2001 in Los Angeles by The Actor’s Gang Theatre Company. It was produced later that same year in New York at the Soho Playhouse. The play ran for 450 performances, and was voted among the Top Ten Plays of the Year by Time Out New York magazine. Part existential detective story / part travelog / part character study of a somewhat mad librarian who becomes possessed by a quest for existential meaning.
Theatre Y produced An Impressive Presentation of Lovely Evidences featuring Darren Hill, directed by Melissa Lorraine, and assistant directed by Jordan Matthew Walsh in August of 2015, and has taken this text as an opportunity to infiltrate every corner of Chicago in the spirit of its wandering anarchist librarian...homes, bars, libraries, bookstores, street corners, political rallies...
In the summer of 2017, Darren will perform for 33 straight days on the Camino Francés, the most heavily traveled of all the Camino routes from southern France across northern Spain to the costal city of Santiago. The company will traverse the 450-mile stretch on foot, each day performing some aspect of the one-person play Underneath the Lintel: An Impressive Presentation of Lovely Evidences, and developing a new work.
Enter Greg Scott: a visual sociologist, artist, and filmmaker at DePaul University. The films he makes “tend to explore the ineffable and ethereal dimensions of human interaction in a context of multilevel myth-making”
Greg will document the play’s live performances, develop an immersive documentary film that captures the play’s performance across the 33-day, 450 mile stretch, and create an original work of experimental docu-narrative cinema that explores the rituals, ceremonies, practices, and ecstatic transformations that occur amongst the people we encounter along the way and with whom we travel and otherwise interact in the context of the pilgrimage and/or performances.
The central objective of this project, with its three interrelated films (performance documentary, ethnographic documentary, and experimental cinema), is to examine the rituals and practices associated with the ecstatic transformation of self in the communal context of a spiritual (secular or sacred) pilgrimage.
We are gathering a large group of people to walk with us. We will record confessions and create rituals as an embodied marking of various sights along the Camino, which Greg will be filming to be woven into a performance piece which will be developed over the next year with the entire ensemble and presented in the fall of 2018. The final theatrical form will be a multimedia, choral dance and poetry piece.
The goal is not to reproduce the Camino in a strictly documentary fashion, but to interiorize it as an event and reflect it in a mosaic of physical and textual expressions. Conducting a multi-sensory examination of spiritual and personal transformation in the context of a pilgrimage is the thread that unites all of the work we will be doing on the Camino.
To walk the Camino with us or to get more information email firstname.lastname@example.org.