By Michael Feingold
By Elizabeth Zimmer
By James Hannaham
By Christian Viveros-Faune
By Christian Viveros-Faune
By R. C. Baker
By Michael Feingold
By Michael Musto
Ten years into the 21st century, it seems a fitting time to look at the state of New York City's theatrical avant-garde. How has it evolved over the past decade? Who's doing the most inventive work, and who's coming up short? What exactly constitutes a vanguard these days, and where is it heading?
Some of the answers can be found by looking at the young ensembles who now lead the city's progressive theater scene. Although downtown playwrights—like Young Jean Lee, Thomas Bradshaw, and Richard Maxwell—stand among the era's theatrical pioneers, the arena for experimentation is increasingly occupied by self-producing groups in long-term collaborations. The decade has seen a new crop—Temporary Distortion, Witness Relocation, Radiohole, among others—named more like bands than traditional stage ensembles. Collectively, they have reinfused downtown theater with interdisciplinary energies and fresh entrepreneurship. The best ones could rouse the American avant-garde, which has largely settled into a comfortable set of postmodern conventions.
Many of New York's edgier ensembles have been drawing on non-dramatic source material (i.e., no plays) and creating work that mirrors other media forms—two impulses historically embraced by modernist avant-gardes, of course, but sometimes yielding original results today. Big Art Group, for instance, makes a touchstone out of synthesizing media elements. SOS, their 2009 show at the Kitchen, offered a spiraling series of hallucinations of consumer catastrophe—simultaneously humorous and apocalyptic. Scenes alternated between terrified animals fending for themselves in the Darwinian wilderness, and grotesque chats between urban creatures of consumption. The group used live projections, computer graphics, and a dense soundtrack to create an overstimulated (but deliberately oppressive) mediascape, which was somehow charmingly homemade.
SOS points to a category of experiment under way in alternative theater, which might be described as Internet dramaturgy: live performances structured around nonlinear associations, a continual or escalating series of non sequiturs, or constantly regenerated narrative frames. These dramatic forms echo our now-daily experiences of clicking through multiple sites and toggling between realities. Stage compositions increasingly reflect structures and patterns from the Web, a development ripe with potential.
The admirably arty Radiohole could also be included in this web-of-consciousness heading, with company-devised pieces full of visuals and free association. Keep an eye out for the Brooklyn-based group's latest performance collage, Whatever, Heaven Allows at P.S.122 this February. Another example: Crime or Emergency, a shamanistic cabaret created and performed by Mike Iveson and Sibyl Kempson at P.S.122 in December. As Kempson performs approximately 10 characters in a sequence of interconnected tales, the scenario simultaneously progresses and falls apart, relying (a little too much) on Kempson's virtuosity and Iveson's musical scoring.
There is a difference, however, between a narrative or event in continual, vigorous metamorphosis and something that just meanders in abstraction or pastiche. The wryly named National Theater of the United States of America, for instance, seems unable to organize its disparate impulses—Gothic flourishes and traveling tent antics, for instance—so a show like Abacus Black Strikes Now! (mounted at P.S.122 in 2006) didn't coalesce. Despite lively music, Cynthia Hopkins's Accidental Nostalgia trilogy, produced at St. Ann's Warehouse in recent seasons, overstretched a fantastical quest for a singer's mysterious past.
Elsewhere in New York's experimental playground, realism is under serious reinvestigation, but not the psychological kind—call it hyperrealism. Nature Theater of Oklahoma—perhaps the most intellectually nourishing of these new groups—stands on the frontier of this unfolding territory. The group applies scientific precision to their enactments of transcripts taken from real conversations; by dissecting contemporary speech, they reveal our splendidly otherworldly thought processes, and show how we struggle to articulate our individual realities (thereby creating new ones).
Last season, Nature Theater's monodrama Rambo Solo poignantly chronicled actor Zachary Oberzan's artistic obsessions and personal evolution. The group is currently presenting its Romeo and Juliet at the Kitchen, in which they enact interviews they conducted with people struggling to recall and articulate the famous tragedy's narrative. Also watch for their new serial epic opera, Life and Times, an exuberant celebration of a friend's ordinary autobiography; the company apparently plans to do a complete version in multiple parts—an epic of the self bringing to mind, say, Robert Wilson's early experiments.
It's no accident that Nature Theater works a lot in Europe, where fellow avant-gardists like the German company Rimini Protokoll are deploying amateur "experts," civilian nonactors, and audience interaction to slash theater's fictive fabric. That idea has started to turn up stateside, too, with performance events such as CiNE's 2008 audience "seminar" Venice Saved (at P.S.122), which put interactivity and spontaneity at the live event's core. (The production asked attendees to debate the political efficacy of theater today; the result varied nightly, frustrating some and stimulating others—but the change of terms was provocative.) Ironically, modern avant-garde dramatists reacted against realism throughout the 20th century, cooking up new aesthetics like surrealism and Brechtian epic theater as antidotes. Now the pendulum may be swinging back, with theatermakers instead looking to radically expand "real" elements to keep up with other media's "reality" programming and a vogue for DIY documentary. This looks like one of the most exciting dynamics to watch in the new decade.
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