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Cell 10 of Protagonistic Forces

Cell 10 of Protagonistic Forces

Vancouver, Canada 

RT "chair sculpting"

photo by Tom Orange


Cell B of Protagonistic Forces

Cell B of Protagonistic Forces

Vancouver, Canada 

"Work-a-day people streaming out into -- The Material Conditions ("as they've found them") (photo by Tom Orange)


Cell 14 of Protagonistic Forces

Cell 14 of Protagonistic Forces

Williamsburg  

RT & MH in East River moving through "shadow" BMP's (Nora Griffin on video camera)

"Shadow BMP's are post-performance BMP collision-effects, that is refractory reflections of past actions. Like photons emitted by electrons breaking free (along with positrons), the events -- they're actually moving *backward* in time" - RT



Cell 7 of Protagonistic Forces

Cell 7 of Protagonistic Forces

Vancouver, Canada 

MH & RT go into Body-Movement Parameters 39 & 46 to audio soundtrack of "First Box" ("1989 / What? // I thought / the leaping / had puffed out / the pyre / Or was it / the pyre / had puffed up / the leaping" (read by Tom Orange & Rod Smith) (photo by Tom Orange)


Cell 11 of Protagonistic Forces

Cell 11 of Protagonistic Forces

Vancouver, Canada 

MH goes into Hand-Overhead-Slow-Mow-Running-Wobble-Collapse-Re-Form" activity -- set to blotted-out Bolivarian Constitution (article 102) text screen projection “Developing the creative potential of every human being and the full exercise of his or her personality in a democratic society”
(photo by Tom Orange)


Cell Y of Protagonistic Forces

Cell Y of Protagonistic Forces

Vancouver, Canada  

MH with hammer (photo by Tom Orange)

Activity: Destruction of Infinite Bubbles Machine to soundtrack of "*my* space!" (Rod Smith and Tom Orange in unison) from "First Box"; afterwards, entity (MH), blows a single bubble with wand.

"In CPT, there's no use of "props", that is, things that are functionalized that add to a given "narrative". Instead, objects are treated in their own right. From their actual material capacity (ductility, resonating qualities, etc) to their social symbolic meaning. The objects are treated repeatedly -- in different instances -- with different actions -- independent of the text; but still, objects are conceived of as being aggregative to the over-arching event (including the text)" -- RT


Rodrigo Toscano and Louis Cabri (Vivo Center)

Rodrigo Toscano and Louis Cabri (Vivo Center)

Vancouver, Canada  

RT and Louis Cabri read a Cabri Sound/Text poem (photo by "Napalm Nikki")


Cell 2 of Protagonistic Forces

Cell 2 of Protagonistic Forces

Vancouver, Canada  

MH holds up sign "Creative Writing... // 1. Enough / 2. Not enough / 3. Both" after cluster reel of MST (circa 1990's) and CNT (circa 1930's) social movements. (photo by Tom Orange)


Cell X of Protagonistic Forces

Cell X of Protagonistic Forces

Vancouver, Canada  

RT and MH (photo by Tom Orange)

Activity: "fork-&-knife placement" from "First Box"; first RT goes into crouch/diving position then props up at 4th verse of Truax Inimical text ("how's it that we're four hundred million distinct entities here?" (read by NYC 2006 Truax Group), then MH adjusts RT into hold position. Article 299 of Bolivarian Constitution is projected on the screen followed by a cluster reel of Greater Americas "mass rallies". (photo by Tom Orange)


Cell 10 of Protagonistic Forces

Cell 10 of Protagonistic Forces

Vancouver, Canada  

RT "chair sculpting" (photo by Tom Orange)

Activity: entity sculpts chair-pairing to text from Truax Inimical, 2nd Mvt, “I / Fly / In / The / Deep / Of / The / Night // I / Fly / Toward / The / Source / Of / The / Light...// We / Fly / Toward / The / Face / Of / The / Moon // We / Drink / Deep / Of / The / Light / Come / Down // We / Seek / New / Soils / For / Our / *Own* / Growth”

"The goal of this activity is to demonstrate the serendipitous determinate, and the determinate, determinate" -- RT


Cell 5 of Protagonistic Forces

Cell 5 of Protagonistic Forces

Vancouver, Canada  

MH and RT (photo by Tom Orange)

Activity: entitites hold up two signs (Heller) “Mon Cher / Litterateur”, (Toscano) “How the hell is this my-mesis?" after audio loop from "First Box" “screech —illusion —convert? —pink!”


Cell 11 of Protagonistic Forces

Cell 11 of Protagonistic Forces

Vancouver, Canada  

MH (photo by Tom Orange)

Reel: China workers loop (2 ton plange dropping on duct mould, workers having to contort bodies as to avoid getting quashed, followed by gang-work reel of aluminum ducts filing.
Audio: “multi-tonal grave violin music” (start @ 1.27, and fade out at the end of video reel)
Video text image: Article 102 of Bolivarian Constitution "Developing the creative potential of every human being’ ‘active, conscious, and active participation’” (fade out text in portions / blots). Heller then goes into Hands-Overhead-Slow-Mow-Running-Wobble-Collapse-"Re-form" BMP; RT goes into diving-crouch form (RT waits for double-step cue to end); Bekele 10 Meter track run clip follows immediately ("turbo deep bass audio track @ .26)


Cell D of Protagonistic Forces

Cell D of Protagonistic Forces

Buffalo, NY 

RT firing up Gazillion Bubbles after reciting "anarcho-something-something / socialisticate" quatrains (photo by Divya Victor)


Cell N of Protagonistic Forces

Cell N of Protagonistic Forces

Buffalo, NY 

RT "ball searching" (photo by Divya Victor).

"Searching for the rubber balls (atomized consciousness under capitalism) that were tossed in cell G, is a prelude (or projection) to a conjoined two-person or more *effort* (as in cell 7). That is, historical memory-activity of the now (alone, wandering), but as yet without a clear sight of any forward (collective)"


Spectators / Actors

Spectators / Actors

Buffalo, NY 

In the Contact Zone (photo by Divya Victor).


Cell Y of Protagonistic Forces

Cell Y of Protagonistic Forces

Buffalo, NY  

RT smashing Gazillion Bubbles machine (photo by Divya Victor).

"The status of socially-produced objects...when is smashing actually a putting back together? The breaking not a "ludic" gesture, but rather a singular body-effort hailing other body-efforts -- as intelligence. First the machine is put to "work" (twice, cells D & M), then smashed (cell Y), then the fragments are planted in rows and watered (cell 3), then the fragments/crops are carefully, critically inspected (cell 8). CPT is not interested in "props" (functionalization of objects for character-plot-matrix drama), but rather is invested in (socially-produced) objects as they *don't speak* -- but want to!" - RT



Cell Y of Protagonistic Forces

Cell Y of Protagonistic Forces

Buffalo, NY  

RT re-placing chunks of machine on platform (photo by Divya Victor).


Cell 7 of Protagonistic Forces

Cell 7 of Protagonistic Forces

Buffalo, NY  

RT shadowing Max Heller's BMP “eyeballs retreating into skull for a refreshing swim in the lungs” (photo by Divya Victor)

"If BMP's can at times be inscrutable to the spectator,
shadow "BMP-ing" is *hard-core* enigmatic Poetics Theater.
I love it!" -- RT


First sketch of Protagonistic Forces

First sketch of Protagonistic Forces

Greenpoint 

"In its early stages, PF was a merely loose mass of compelling ideas; finding the energy-level attraction of one idea to another (at that point in time) was a "just because" matter. Later, a more fully developed notion of "The Grid" would come into its own by way of compositional "cells of activity" (40 - 70 seconds each). PF is made up of a total of 46 such cells" -- RT


"The Grid" (score for Protagonistic Forces)

"The Grid" (score for Protagonistic Forces)

Greenpoint 

"After months of painfully pondering the project, the film, the music, the text designations, and BMP's, finally flowed like honey from uh, well, a honey vat -- *of necessity*. Comrades in Vancouver needed (had commissioned) poetic-political spectrography from NYC, U.S. of A. Of bees and wasps, you know."
-- RT


"The Grid" (final structure)

"The Grid" (final structure)

Buffalo, NY  

by RT

"The method of cell-based media & body activity (40-70 seconds each) -- as compositional frame, freed us to get to engage the overall piece, but through context particulate moments. That is to say, Protagonistic Forces, is a particular *way* of reading the representation of world(s)" -- RT


Filmwork for PF

Filmwork for PF

Chelsea, NYC 

"At the *cellular* level, PF overtly borrows lessons from Cordoned and Super-Solid regarding the duration of images presented. Pushing content over form, it seeks to deliver, at a high speed, as many images as can be (usefully) absorbed, rejecting the length=depth assumption of contemporary experimental film / contemporary video installations."
- MH


Cell E of Protagonistic Forces

Cell E of Protagonistic Forces

Chelsea, NYC 

"Aesthetically speaking, CPT’s focus on *transparency of labor* (aesthetic, 'real-world') necessitated that the film element of PF reveal its “seams” (to borrow Tom Orange’s word), so I created a sort of video Centre Pompidou—internal bolts/workings popped outward. The flow of images is broken 44 times by the silent blackness at the end of each cell. The spectator’s desire to construct an “a-ha” narrative is frustrated, the jolts and constant cuts keep them “wide awake”, eyes are focused ‘on the course, not on the end,'. The structure calls attention to itself throughout." -- MH


Spine

Spine

Albany, NY 

RT (photo by Urayoan Noel)


Spine

Spine

Albany, NY 

James Belflower, R. Toscano, Anna Eyre (photo by Urayoan Noel)

"The hand-sculpting sequence intrigued me anew as if I'd done it for the first time...every player/reader's particular way of doing it (however similar, given our anatomical similarities and limitations) is quite unique"


Balm To Bilk

Balm To Bilk

Albany, NY  

Natalie Knight & Rodrigo Toscano (photo by Dan Wilcox)

"Rather spontaneously, NK and I found a way to 'BMP' a single (swiveling) mic into the piece -- to great effect" - RT


Truax Inimical

Truax Inimical

Albany, NY  

Natalie Knight, R.Toscano,Collie Collen, Tomas Urayoan Noel (photo by Dan Wilcox)

"Polyvocalic pieces (with separable voice lines for discrete readers) -- the more I think of them, strike me as mars landing modules, a kind of creeping about that's odd in its mechanical gait, but necessary given the *extreme conditions* of the surface explored. Every "poetry reading" is an "alien" surface environment, and so a corollary to that is to commit to some kind of Machine Dance" -RT


Spine

Spine

Albany, NY  

Anna Eyre, R. Toscano, and James Belflower (photo by Dan Wilcox)

"I've come to think of these separate activities as one instant of time, like baryon chilarity + spin in string theory, three strands of one simultaneous oscillation pattern, that only 'appears' as particulate separateness" -- RT


"Reading 2009" (King Juan Carlos Center, NYU)

"Reading 2009" (King Juan Carlos Center, NYU)

NYC  

Rodrigo Toscano & Laura Elrick reading a new CPT "read n' shout" poem for five voices (compressed into two).


Before The Performance

Before The Performance

University of Ohio (Miami)  

Rodrigo Toscano & Catherine Wagner


Spine

Spine

University of Ohio (Miami)  

RT (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

RT (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Catherine Wagner & Rodrigo Toscano (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Catherine Wagner (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Tom Orange & Rodrigo Toscano (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Catherine Wagner & Rodrigo Toscano (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Tom Orange, Catherine Wagner, Rodrigo Toscano (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Tom Orange, Rodrigo Toscano, Catherine Wagner (photo by Chris Cheek)


Spine

Spine

University of Ohio (Miami)  

Tom Orange & Catherine Wagner (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

RT (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

Tom Orange (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

RT (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

Pierce Denny & Rachel Schramm (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

Tom Orange (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami)  

Rachel Pierce (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

 

Rachel Schramm (photo by Chris Cheek)

"The action goes past "energy" towards a belief-form: it isn't the will that's engaged but a (socially sprung) "soul" that wills, something taking place beyond theatre that becomes "theatre" only because of it's leaving it, striking at an atavistic nerve from (neo-brechtian) distance" - Natalie Knight


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami) 

RT (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami) 

Tom Orange (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami) 

RT (photo by Chris Cheek)


Pig Angels of the Americlypse

Pig Angels of the Americlypse

University of Ohio (Miami) 

Tom Orange (photo by Chris Cheek)


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