Art Research focusing on visual, physical, and musical site specific theatre / site specific dance (or more accurately termed site responsive theatre) of the remaining fragments from the lost plays of Aeschylus, Sophocles & Euripides.
Live Art scored in collaboration with artists from all mediums including sculptors, composers, designers, & performers
On the evening of March 9th, 2020 we performed a site specific production of a fragment from the lost tragedy Laocoön by Sophocles at the Berkeley Art Museum and Pacific Film Archive.
On August 23rd, 2020, I incorporated a text fragment from one of Euripides’ lost tragedies to an image of an abandoned dollhouse discovered on a sidewalk. Informally, the piece is called Enclose the Divine.
At 6:50AM on July 3rd, 2020 I incorporated a text fragment from one of Sophocles’ lost tragedies with a site responsive approach to an abandoned house outside Watsonville. Informally, the piece is called In Time of Need.
At 5:40AM on March 23rd, 2020 I incorporated a text fragment from one of Euripides’ lost tragedies with a site responsive approach to Environmental Art and Public Art (The statue: To Honor Surfing Statue) on Santa Cruz’s Westside. Informally, the piece is called The Man Who Knows.
At 4:45pm on November 19th, 2018 we performed a site specific theatre piece of the two remaining fragments of Aeschylus Danaids at the Pulgas Water Temple in San Mateo county.
At noon. on May 9th, 2018 we performed a site specific theatre piece of an unattributed fragment from one of the lost tragedies of Euripides at a superfund site along the East Palo Alto shoreline. Informally, the piece is called Path of Steady Success.
At 1:08 p.m. on July 10th, 2016 we performed a site responsive theater piece of the only two fragments that remain from the lost Sophocles tragedy Nausicaä at Pillar Point (Mavericks).
We performed a site responsive theatre piece using a fragment of text from a lost Sophocles tragedy at the Wave Organ in San Francisco. Informally, the piece is called Savage Blasts.
At 6:57 a.m. on April 7th, 2016 Muriel Maffre, Ryan Tacata and myself performed a site specific theater piece with fragments of one of the lost tragedies by Euripides on top of Slacker Hill in the Marin Headlands. Informally, we called the work Love is The Fullest Education and the fragment relates the myth of Zeus’ seduction of Io in the form of a cloud.
At 3:57 p.m. on December 23rd, 2015 I performed a site specific art installation of an unattributed fragment of one of the lost tragedies by Sophocles in San Gregorio. The piece was created with eight dead fish heads speared on eight fence posts. Informally, the piece is called Speechless Fish.
On October 9th, 2015 Rebecca Ormiston, Ryan Tacata and myself created an experimental piece for Artist Weather TV that incorporated a text fragment from one of Sophocles’ lost tragedies: Sophocles Fragment #137. Informally, the piece is called Cloud Talk.
At 2:45 p.m. on October 3rd, 2015 I performed a site specific theater piece of the only remaining fragment from Aeschylus’ The Argo in the hold of the schooner C.A. Thayer at San Francisco Maritime National Historic Park.
At 5:55 a.m. on July 1st, 2015 we performed a site responsive theatre production of an unattributed fragment of one of the lost tragedies by Euripides’ at Aquatic Park in San Francisco. Informally, the piece is called No Man’s Friend.
At 1:15 p.m. on June 6th, 2015 we performed a site specific theater piece with the fragments that remain from the lost Aeschylus tragedy at the Golden Gates Fields horse racing track.
At 8:01 p.m. on May 4th, 2015 we performed a site responsive theatre event of Sophocles’ Sinon (using the textual fragments that have survived) in the Emeryville Mudflats: adjacent to the Oakland-San Francisco Bay Bridge.
At 6:25 a.m. on April 24th, 2015 I performed a site specific production of Aeschylus’ Daughters of The Sun in the waves off Año Nuevo State Park
‘During the war, when I had a great deal of time to think, and no friends to amuse me, I conceived of a new kind of drama. One in which the conventional separation between actors and audience abolished. In which the conventional scenic geography, the notions of the proscenium, stage, auditorium, were completely discarded. In which continuity of performance, either in time or place, was ignored. And in which the action, the narrative was fluid, with only a point of departure and a fixed point of conclusion. Between those points the participants invent their own drama.’ His mesmeric eyes pinned mine. ‘You will find that Artaud and Pirandello and Brecht were all thinking, in their different ways, along similar lines. But they had neither the money nor the will —and doubtless, not the time — to think as far as I did. The element they could not bring themselves to discard was the audience.’
John Fowles, The Magus, 1966
