cinema-teatro, anteprima
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I lavori di Nature Theater of Oklahoma, che appaiano in forma di teatro, musical, film, radio o libro sono sempre un puzzle. Giochi di codici e contesti, indossati maldestramente, esaltando le ibridazioni (dal dinner-theater americano, al giallo alla Agatha Christie, alle coreografie sportive dei regimi comunisti). Tipicamente americani, offrono un continuum tra arte colta, trash e la vita di tutti i giorni. I confini sono porosi. La sovrapposizione è fluida. Basati su trascrizioni telefoniche, come nel caso della maratona in 10 episodi Life and Times e dei film presentati a Live Arts Week, i testi colloquiali che utilizzano diventano biografie multiple e collettive, in cui il banale, il casuale e il quotidiano assumono aspetti epici. I Silent Movies Screen Test No. 1>6, dal richiamo wharoliano, nascono come studi per una produzione filmica. Cinema muto, recitazione espressionista, melodramma, scampoli di memorie adolescenziali da college, And um she...! She was also starting up a band! No-no-no! She was PLAYING in a band! ANOTHER band! It was some band called - I dont remember! Anyway!

Nota: "Tutti i film sono composti da centinaia di stills alla velocità di 10 immagini al secondo. I testi utilizzati sono frammenti dell'Episodio 6 di Life and Times (era una registrazione danneggiata, quindi ne restano solo alcune parti). Pavol passava mediamente una giornata (8 ore) a filmare i singoli stills per ciascun film con gli attori. Le immagini sono state girate a colori e poi importate su Final Cut, virate in bianco e nero e trattate con filtri per simulare le pellicole dei film muti. Ho anche creato le didascalie e scelto le musiche di accompagnamento." (Kelly Copper/NTO)

Con Fumiyo Ikeda. Filmato al Vooruit di Ghent da Pavol Liska. Montato da Kelly Copper a New York. Musica Tango Jalousie, eseguita da Leo Reisman and his Orchestra (1925).

cinema-theatre, preview
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The works of Nature Theater of Oklahoma - theatre, musicals, movies, radio or books - are always a puzzle. Playing with codes and contexts, worn awkwardly, enhancing hybridizations (from the American dinner theatre, to Agatha Christie-style murder mysteries, to the sports choreographies of Communist regimes). Typically American, they offer a continuum between high art, junk art and daily life. The borders are porous. The overlap is fluid. Based on telephone transcripts, as in the case of the marathon in 10 episodes Life and Times and of the films presented at Live Arts Week, the colloquial texts that they use become multiple and collective biographies, in which the banal, the random and the daily take on epic aspects. The Silent Movies Screen Test No. 1> 6, with references to Wharol, began as studies for a film production. Silent film, expressionist acting, melodrama, remnants of adolescent memories of college, And um she...! She was also starting up a band! No-no-no! She was PLAYING in a band! ANOTHER band! It was some band called - I dont remember! Anyway!

Notes: "All films are composed of hundreds of still images at a rate of 10 still frames per second. The texts used are fragments from Episode 6 of Life and Times (which was a damaged recording, so only a few pieces remain). Pavol would spend typically a day (8 hours) shooting the individual stills for each film with the actors involved. The stills were shot in color and then I imported the stills in Final Cut, changed them to black and white and applied other filters to simulate silent film stock. I also created the titles and selected music to accompany the films." (Kelly Copper/NTO)

Featuring Fumiyo Ikeda. Filmed at Vooruit in Ghent by Pavol Liska. Edited by Kelly Copper in New York. Music is Tango Jalousie, performed by Leo Reisman and his Orchestra (1925).