Clear and to the point.

I just had this moment

of recalling the work of Diane Arbus - amazing creepy photographer - i think there's a movie about her called FUR.

anyway. i remembered these photos that made me think of the Phantoms.

i'd like to buy the world a coke

oh Dr. Scott.

You lil Rascal.

More Franz Klien

The wall that will crash down.

Images for translating the gothic to more abstract and creating the shadow of a world. black on black. and then with Rocky's revel the world comes crashing down.

Franz Kline (May 23, 1910 – May 13, 1962) was an American painter mainly associated with the Abstract Expressionist painters who were centered, geographically, around New York, and temporally, in the 1940s and 1950s; but not limited to that setting. He was born in Wilkes-Barre, Pennsylvania, attended Girard College, an academy for fatherless boys; attended Boston University; spent summers from 1956-62 painting in Provincetown, Massachusetts, and died in New York City of a rheumatic heart disease. He was married to Elizabeth Vincent Parsons, a British ballet dancer.

[edit] Career

As with Jackson Pollock and other Abstract Expressionists, he was labeled an "action painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. For most of Kline's [mature and representative] work, however, as the phrase goes, "spontaneity is practiced". He would prepare many draft sketches – notably, commonly on refuse telephone book pages – before going to make his "spontaneous" work.

[edit] Black and white and color

Kline's best known abstract expressionist paintings are in black and white. Kline re-introduced color into his paintings around 1955, though he used color more consistently after 1959. Kline's paintings are deceptively subtle. While generally his paintings have a dynamic, spontaneous and dramatic impact, Kline often closely referred to his compositional drawings. Kline carefully rendered many of his most complex pictures from studies. There seems to be references to Japanese calligraphy in Kline's black and white paintings, although he always denied that connection. Bridges, tunnels, buildings, engines, railroads and other architectural and industrial icons are often suggested as imagery informing Kline's work.

Kline's most recognizable method/style derives from a suggestion made to him by his friend Willem De Kooning. In 1948, de Kooning suggested to an artistically frustrated Kline to bring in a sketch and project it with a Bell Opticon opaque projector he had at his studio. Kline described the projection as such:

"A four by five inch black drawing of a rocking chair...loomed in gigantic black strokes which eradicated any image, the strokes expanding as entities in themselves, unrelated to any entity but that of their own existence."

Kline created paintings in the style of what he saw that day throughout his life. In 1950, he exhibited many works in this style at the Charles Egan Gallery.

on the catwalk.....

work.

i post this, not cause it has anything to do with ROCKY, but because it does at the same time.

I admire Mary greatly. I have known her for close to 8 years now, and Greensgrow is just a few blocks from my house. please do give a listen.

http://www.whyy.org/podcast/thisibelieve/tib20090213.mp3

and yes....

i know. it's the Bull Center. the first idea was to have an ally config, where there were two banks of audience, facing each other, and looking at each other through the action of the play, which i thought was really important.

i have been told that it is 'impossible' to stage in that config.

so there we are.

maybe some will have issue with me stating this, it is however what is. and i roll with it.

the final 1/4" scale model of the set

Brendan & I will be finishin up the set model between 12noon & 5pm this coming thursday the 20th of August over at the scene shop.

stop by if you want a sneak peek of the chaos.

the flying visuals.....

http://www.villagevoice.com/2001-07-17/film/the-return-of-the-repressed/

i hope for there to be small nods to the original production and the movie....

it's gotten too hot in the 3rd floor studio. but the modle progresses.....

1/4" scale starts today.

the model. getting ready to present on the 4th is it?

anyway.

"For me, the heart of the theater is what happens between the performer and spectator: the pulsating, vibrating flow of energy which can only happen live in the presence of both parties..." -Diane Paulus, Artistic Director, American Repertory Theater

YOUR script.

http://www.badmovies.org/movies/rockyhorror/audience

FOR WHATEVER REASON it doesn't seem to work as a LINK. so cut and paste.

catching up.

so on the 18th Liz Staruch, Len Kelly, Emily Rogge and I went to see ROCKY HORROR PICTURE SHOW at the Colonial Theater in Phoenixville. posts on that to follow. did confirm for me that ROCKY is really about the cult classic aspect, the event, the community that surrounds the movie and stage show. after all, for me personally, neither the movie or the stage show are great pieces of film or theater. can either stand on their own as really legit pieces of art? or are they just b rated trash?

FROM LIZ:

My evening at the Colonial started with sitting across the street at a cafe watching the wide range of ages and the great homemade costumes line up for this event. I also loved observing those walking down the street asking 'what's going on' and upon seeing the kid dressed only in a gold lame speedo and hiking boots 'what the hell is he doing?' I always love getting that response from an audience.

Like Mark said, it really is about the event, interacting with the community who get to be something other than themselves for a few hours. Even if not in costume (which we did not do), the act of shouting out lines and reacting to new ones you haven't heard yet regardless of whether they were in good or poor taste (like all the Michael Jackson references) was electric.

It also for me confirmed that we need to black out as much of the Ikea theatre as possible if only to protect what finishes are still there but also to escape that pre-fab world and create a black void where our characters feel free to be themselves.
-- Liz

round and round. yeah that's right. i got Ratt stuck in my head

somehow this image was much better as a more ghost like photocopy.


"Rocky Horror belongs to the audience, not clever design..."

The movie

It's 1:30 and i just stumbled across the movie of ROCKY HORROR on the Fuse network ( i heart you DirecTV...)

I haven't seen this since going to see it in South Hadley, MA at a little theater across the street from Mt. Holyoke College when i was at UMass the first time around.

There's such an event tied to going to see this movie in person, that is totally lost lying in bed at this late hour, and i'm thinking more and more that it's important to honor this aspect of the show.

Us vs. Them. here and there, how do YOU see things. It's not about making some huge cultural statement. That just happens on it's own i am convinced. No need to beat it to death.

So all I was going to say this morning is that the movie is on, and the storyboarding is taking place. on to model pieces tomorrow. to create the shadows of the world.

the question i want to put to the audience is 'what do you think you're looking at?"