I always felt in control of the performance although i let the failures of my technology or the lack of audience. This hijack I felt was successful and adding a bit of weirdness in Heimbold that wasn’t already there.
My piece consisted of two facets. My first facet projected the film Marat/Sade directed by Peter Brook upon a wall in the lobby of Heimbold. The second is my improvising and character I developed. My character was a senile old host of a movie, opera, or musical of a forgotten time and place. I go in with the intention of exploring the themes of memory and performance in relation to the film. I discarded upon the performance proper because I wanted my interactions with the guest to arrive organically. I spend my time asking people their names and what they think of the show but deliberately forgetting what they said. Doing so gave the audience moments to play make believe, thus destabilize the continuity of their identity to a certain extent. By asking them their understanding of the show (considering no one could hear them), I gave people an opportunity to explore the weirdness of the moment and give them space to perform if they wish.
The improv in the piece, I feel, did wonders to explore the themes I set out initially. Paralleling the project film Marat/Sade, I encouraged the audience to perform the memory of the piece’s moment. If memory is something communicate between people, how much of that communication is performed (read: manipulated)? The film and the play its based on revels in this mistrust of history to explore the question of Revolution, but with my performance I attempted with mixed and unknown results a micro-Revolution. This micro-Revolution was a space and time where identity, memory, etc. was always a choice and a not serious one as that. This is inspired by my love the carnivalesque works of Carnival-Protests of CIRCA and the theory of Carnival.