|
Current & In Progress
THEBAID, An excerpt from Statius' Book XII, Directed by Magdalena Zira
 |
After the battle between the Argives and the periThebans, the bodies of the
Thebans are burned. Creon, victorious king of Thebes, decrees that no Argive
should receive burial honor, but their corpses should be left on the
battlefield to rot. Among the unburied dead is Polynices, who had led the
Argive army against Thebes and against his brother Eteocles.
A group of women from Argos, the widows and relatives of the dead Argives,
come to beg for the bodies of their men. Argia, wife of Polynices, runs
ahead of the others and arrives first at the battlefield outside Thebes,
looking for her husband's body. After a dangerous journey she finds it.
Meanwhile Antigone, sister of Polynices, escapes the city of Thebes with the
same purpose: to find the body of Polynices and bury it, despite Creon's
orders.
The two women meet on the battlefield, over the body, and after a highly
emotional recognition scene they bury the body together, giving it a proper
funeral pyre. But the guards hear them and arrive to catch them in the act.
The two women proudly admit to what they have done and are taken to king
Creon, there to be condemned to death. |
DIGMA
 |
What hides under the black formalities of today's corporate world? What is it that creates a transiton to color and true feelings? Why do we try so hard to hide what's there? Is it because it is scary to do so, or because it is too beautiful to let show? This work was presented as a small sample of the full length evening exploration of the theme, which will shortly follow.
|
| |
|
HECUBA, Directed by Magdalena Zira
 |
"Ah! there is not in the world a single man free; for he is either a slave to money or to fortune, or else the people in their thousands or the fear of public prosecution prevents him from following the dictates of his heart.
But since thou art afraid, deferring too much to the rabble, I will rid thee of that fear. Thus; be privy to my plot if I devise mischief against this murderer, but refrain from any share in it. And if there break out among the Achaeans any uproar or attempt at rescue, when the Thracian is suffering his doom, check it, though without seeming to do so for my sake. For what remains, take heart; I will arrange everything well." |
AQUA

|
|
What happens when a divine creature discovers the essence of being human? Pleasures and the pain accompany mortality. Are they appealing and why? Why taste water, when an unsatisfied desire will spring from it? The answer to be seen on stage.
This work has been commissioned by:
"Moving Arts Project-Christine Jowers"
credits |
SUSPENDIDA
 |
This multi-media performance was created in collaboration with the ANNEX group in an attempt to integrade the elements of movement, sound, costume, light, scenery, text and video. The piece deals with the difficulty experienced by a woman who has left her native land in search of something different.
ANNEX was concerned with the painful negotiation of suspended feelings and perplexed identities triggered by the process of relocation. Though the boundaries of reality and fiction were blurred, a cross-generational, multicultural core message of being caught in between worlds was preserved. |
| |
|
WHO CARES ABOUT THE PANTS?
 |
Who wears the pants today? Is The Man?
Or, is it The Lady? And really does it matter? Why all the fuss when love is assumed to conquer all? |
| |
|
STILL LIFE WITH FLOWERS
 |
Still life With Flowers deals with issues of social isolation and group pressure. Isolation becomes false security and eventually becomes despair. Salvation through social interaction can really mean loss of identity and disjointment from a goal.
|
| |
|
IN SEARCH OF THE WHITE ELEPHANT
 |
The piece explores the feeling that everyone talks about and spends their entire life trying to experience; the one that when not in possession of drives individuals insane over, hence the title 'In search of a white elephant."
When people get the chance to take a small taste of it, brain anarchy rules as they desperately grasp onto this utopia, disregarding all that preceded it. In a bulimic way they try to acquire as much as possible, not realizing that this will result in them experiencing a new feeling. The sickening feeling of repulse, the wake-up call of raw reality. It does not exist and holding onto the thought that it does or that it will exist, can only worsen their emotional and behavioral state. |
| |
|
ECNIRP DELTITNU


|
|
The struggle of a man to defy his fears. Will he overcome them to meet his predestined path?
credits |
SCALE: 1/8"=1'0"


|
|
A eulogy on amplitude space and the infinite ways of manifesting its usage.
credits |
cHRONOS

|
|
"If information after being sucked into a black hole is lost forever, then this brings in a serious paradox
known as ‘black hole information paradox’. If information is totally lost it arises important practical and philosophical consequences. If this
really happens, then ‘we could never be certain of the past or predict the future precisely."
--Hawkins--
This piece is based on the theory of relativity upon which black holes were born. In simple words black holes are regions of space where gravity is so strong that not even light can escape, making them impossible to see. The work raises questions on how real time is and how that affects our perception on events.
credits
|
CHEMISTRY VS. PHYSICS

|
|
Sometimes, circumstances are set against fate's wishes, prohibiting the interaction between individuals. Two people wearing negatively ionized costumes want to reach out to each other, but even thought their chemistry works the physics are banning contact of any sort. The movement challenges are rocking and applying real physics to dance is finally met!
credits |
NO STRAINS ATTACHED

|
|
A piece on the effect of obsessive behavior and it's outcome. When is it that one needs to let go?
credits |
KAERBTRAEH TCEFREP


|
|
A theatrical work involving speech, projections, movement, a human size dummy, roses, unsettling music and distressing acting that will physicalize the tendency we, as human beings have, to dwell into depression due to relationships gone wrong.
The piece is being structured around the difficult game of love and exasperation through the interchange of sadness resulting in humor, play, angst and belligerence. All relationships have a predestined path, which at the time involved in, is unclear.
In the land of Kaerbtraeh Tcefrep (Perfect Heartbreak) the path is twisted under the biggest lie of happiness, which lives screaming "Feed me, me, me, Me, ME with Pain." The performers of the game are called to deviate away, follow along, or adapt it. The individual process of disintegration, the ability to chose, and the challenge of emotional sightlessness is what concerns us.
credits |
SCARY BIRDS
 |
Scary birds dealsin a comical way with the gender roles and the deception of appearance within those. |
| |
|
Past Collaboration Works
An excerpt from Statius’ THEBAID, Book XII, Directed by Magdalena Zira at the Target Margin Theater
Hecuba, written by Euripides, Directed by Magdalena Zira at the Tisch School of the Arts-NYU
Operetta, written by Witold Gombrowicz, Directed by Zishan Ugurlu at the New School of Education
Fires, written by Marguerite Yourcena, Directed by Gisela Cardenas at the Vortex Theatre
Moving With A Painting, Workshop for Christine Jowers Moving Arts Project
Credits
DIGMA
| choreography: |
Irina Constantine Poulos
|
| performance: |
Irina Constantine Poulos |
| costume design: |
Irina Constantine Poulos |
| music coposition: |
Suzanne Vega, Röyksopp |
AQUA
| choreography: |
Irina Constantine Poulos |
| performance: |
Christine Jowers |
| costume design |
Oana Botez-Ban |
| lighting design |
Lucas Benjaminh Krech |
SUSPENDIDA
| concept: |
Oana Botez-Ban, Saviana Stanescu |
| choreography: |
Irina Constantine Poulos |
| text: |
Saviana Stanescu |
| music composition: |
Lucian Ban |
| performance: |
Irina Constantine Poulos |
| installation design: |
Oana Botez-Ban |
| lighting design: |
Lucas Benjaminh Krech |
| costume design: |
Oana Botez-Ban |
| video design: |
Erwin Maas |
| voices: |
Oana Botez Ban, Lucretia Briceno, Irina Constantine Poulos |
WHO CARES ABOUT THE PANTS?
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold, Abbey Mills |
| costume design: |
Vita Tzykun |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
Astor Piazzola, William D. Arnold |
STILL LIFE WITH FLOWERS
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnol, Beliz Demircioglu, Blake Faulds,
Abbey Mills, Georgia Tucker |
| costume design: |
Oana Botez-Ban |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
Neophytos Stratis |
IN SEARCH OF THE WHITE ELEPHANT
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold , Blake Faulds, Ben Wheless |
| costume design: |
Irina Constantine Poulos |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
Kickplate |
ECNIRP DELTITNU
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold |
| costume design: |
Oana Botez-Ban |
| lighting design: |
Tim Cryan |
| music composition: |
UNKLE |
| installation: |
Irina Constantine Poulos |
TOP
SCALE: 1/8"=1'0"
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold |
| costume design: |
Oana Botez-Ban |
| lighting design: |
Tim Cryan |
cHRONOS
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold, Blake Faulds, Jill Frere, Milena Lloyd, Abbey Mills, Jessy Smith,
Ben Wheless |
| costume design: |
Oana Botez-Ban |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
David Adam Moore |
| set design: |
Stephen Gifford |
TOP
CHEMISTRY VS. PHYSICS
| choreography: |
Irina Constantine Poulos |
| performance: |
Jessy Smith, Ben Wheless |
NO STRAINS ATTACHED
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold,Irina Constantine Poulos |
| costume design: |
Irina Constantine Poulos |
| lighting design: |
Timothy Cryan |
| music composition: |
William D. Arnold |
KAERBTRAEH TCEFREP
| choreography: |
Irina Constantine Poulos |
| performance: |
William D. Arnold, Nohemi Barriuso, Blake Faulds, Jill Frere, Milena Lloyd, Abbey Mills, Jessy Smith, Ben Wheless |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
Lucian Ban |
| set design: |
Shaun Motley |
SCARY BIRDS
| choreography: |
Irina Constantine Poulos |
| performance: |
Blake Faulds, Erin Ghislin, Kaoru Ikeda, Ben Wheless , Sylvia Wolf |
| costume design: |
Irina Constantine Poulos |
| lighting design: |
Lucas Benjaminh Krech |
| music composition: |
Balanescu Quartet |
TOP
|