I Feel Your Pain, Liz Magic Laser, 2011. A Performa Commission. Featuring Annie Fox and Rafael Jordan. Photo: Yola Monakhov.
One of the greatest parts about Chase is the difficulty in determining who the actor is speaking to a great deal of the time - to the other actors through editing, to the camera and the viewer, to the occasional spectators and even apparently to the ATM machines themselves. Was this complication between the project and the viewer, film and theater a goal of the artwork?
For Chase I worked with each actor to make the “Man Equals Man” script resonate in a two-fold manner, both in the context of the original play’s dialogue and in the immediate scenario of the bank vestibule. We were constantly juggling these two registers of meaning: the illusory space of the play and the actual space of the bank. At the beginning I told the actors they could direct their lines to bank clients, my camera, the ATM machines or other inanimate objects in the bank. I outlined these parameters and we played with each line until it struck a cord on both fictional and immediate registers. It was a challenge I put to each performer to imagine that their scene partner could be a passerby or a bank advertisement. The two-tiered approach is then repeated because we are addressing two audiences, the audience we encountered in the bank and the audience who would be watching the montaged video. One audience is exchanged for another, a passerby is incorporated as a player or a machine is treated as if it were a person. The exchangeability of all people and things loomed large throughout the project as both theme and method.
In addition to dealing with the way ATM's transform us into automatons there ...