[Artaud: First take of Ireland, etc.]

This tape documents the preparation for the joint Videopolis / Victory Gardens Theater production of "Artaud."

00:02Copy video clip URL Performer J. Pat Miller sits on a bench city park finalizing his appearance. “Artaud” director Jim Rinnert speaks to Anda Korsts who holds the camera.

00:56Copy video clip URL Miller and Korsts prepare for an upcoming scene. Miller guides Korsts through his movement and actions and ponders conventions about how to confront the camera during the scene while in character. They are at the opening of an underpass somewhere in the Chicagoland area, chosen to evoke the sensation of being in Ireland.

02:22Copy video clip URL Tape cuts. Scene begins with Miller’s character “Artaud” walking through an underpass. As the camera leads closely in front, Miller begins an impassioned soliloquy as a self-proclaimed prophet, approaching two nearby pedestrians (one played by Jim Rinnert), who then flee. “Artaud” (Miller) addresses the camera, continuing his monologue.

05:32Copy video clip URL05:32Copy video clip URL" onclick="fitv_window_prompt('https://mediaburn.org/video/artaud-5/?t=05:32Copy video clip URL');">Copy video clip URL05:32Copy video clip URL" /> Scene ends and tape cuts.

05:32Copy video clip URL05:32Copy video clip URL" onclick="fitv_window_prompt('https://mediaburn.org/video/artaud-5/?t=05:32Copy video clip URL');">Copy video clip URL05:32Copy video clip URL" /> Camera returns to the same underpass. A second take of the prior scene is performed.

08:53Copy video clip URL Scene ends. Tape cuts to another take of the second half of the earlier scene.

10:55Copy video clip URL Take ends.

10:56Copy video clip URL An actor addresses the camera in front of an audience. He then walks to a microphone on a theater stage.

12:05Copy video clip URL Tape cuts. Miller stands in the shot viewing camera footage. Other people located in the room off-camera discuss potential changes to the scene being viewed.

12:37Copy video clip URL Tape cuts. Rinnert, Miller, Korsts (behind the camera), and [Dennis Zacek] are next to a table and discuss footage and potential angles. The suggestion of inverting the camera’s point of view for the “lips intro” is introduced. Discussion about artistic intent of the play arises and the effects of combining recorded video with live performance theater. The nature of both video and theater as artistic mediums are likewise considered. “It seems to me,” [Zacek] says, “that one of the reasons that Jim wanted to use video in the first place was to expand what can happen on the stage.” This develops into the notion of combining a “grandness of place” with the immediacy of video. Korsts emerges from behind the camera and conjectures how to integrate the qualities of “live” video within a theater performance. The directors then elaborate other artistic philosophical considerations of framing, the use of monitors, and the nature of live performance and recorded video. 

25:06Copy video clip URL Tape cuts. Earlier rehearsal video of “Artaud” is being played on a television screen.

27:01Copy video clip URL Tape cuts. Korsts is filming video inside of a car. Daily matters of errands and itinerary are discussed.

28:08Copy video clip URL Video jumps to two children playing together inside of a dining room. A young boy assists a young girl who attempts dance movement on roller skates.

29:27Copy video clip URL Tape jumps and is filming Rinnert driving a car. Korsts sits in the passenger side of the car, while Miller remains unseen in the backseat. The three of them discuss issues of continuity between scenes, specifically in relation to the character Artaud’s hair and the type of wig that Miller should wear.

 

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