Click here to reserve tickets.

Join The Deconstructive Theatre Project family for the sunset and a celebration of nostalgia, summer, art, and friends.

All contributions are tax-deductible and support The Deconstructive Theatre Project’s production, education, and outreach programs.

Saturday, June 2, 2012
Doors at 7:30 PM
Sunset at 8:22 PM

The Roof Deck
171 Rogers Avenue
Brooklyn
(2,3,4,5 Trains)

$35 tax-deductible contribution includes bar, hors d’oeuvres, live music, and silent auction
Click here to reserve tickets.

Cocktail Attire

catering by ‘inoteca
www.inotecanyc.com

Silent Auction Opportunities Include:
tickets to Peter and the Starcatcher on Broadway
tickets to Wicked on Broadway
tickets to The Columnist, starring John Lithgow on Broadway
tickets to Sister Act, starring Raven Simon on Broadway
tickets to Traces off-Broadway and two private aerial silk lessons
tickets to The Acting Company’s Salon Series, including reception with the stars
vocal lessons
headshot or editorial photo session
private chef service
…and more!

Time Passes Benefit Committee
Ryan J. Davis
Brian DeCaluwe
Andrew Hollenbeck
Kristin Rose Kelly
Rebecca Leifman
Arielle Lever
Denise Lum
Adam J. Thompson

Meg Kennedy is the Assistant Director of The Orpheus Variations.

Experimenting with small pieces, working through kinks, seeing what’s possible.

eating nuts

Learning how to light people, reflections, create magic tricks with light.

chatting about shows

How to make continuity using two people to portray one character. Sewing together one arm with another’s face in the audience’s point of view.

We look forward to welcoming a great group of new interns to the company this summer and the following autumn.

My personal thanks to Mitch for volunteering his time to meet potential interns with me, and to ART/NY for hosting a wonderful and crucial networking and staffing event.

I snagged a few minutes early in the morning and in the midst of the hustle to snap these two photos of Mitch hard at work.

Enjoy.

Director: Adam J. Thompson
Text: Lauren Feldman
Devised collaboratively by the Ensemble

Audition Information
Seeking: all types, ages, genders
Date: Tuesday, March 13, 2012
Time: 3:00 – 7:00 PM (email for appointment)
Location: The Playroom Theatre, 151 West 46^th Street, 8^th Floor, NYC (btw Sixth & Seventh Aves)
Prepare: The audition will consist of a group devised theatre exercise led by the director.  No monologue or prepared text is necessary.
Email for appointment: Please email headshot and resume to casting@deconstructivetheatreproject.org

The Deconstructive Theatre Project is casting ensemble performers to join the NYC development and premiere of THE ORPHEUS VARIATIONS.  Ensemble performers cast in the project will portray a number of characters, create live soundscapes and live lighting effects, and operate live feed video cameras.  Cast individuals will join several existing members of the ensemble.

Actors with an interest in devised/ensemble theatre, non-traditional theatre, interdisciplinary/multimedia work, live and interactive video, and filmmaking/film acting are especially encouraged to audition.

Dates
Project rehearses in two stages:
Stage 1: April 1 – May 31
Stage 2: September 16 – October 18
Performances: October 19 – 21, 26 – 28

April: 3 rehearsals per week: Sundays 1:00 – 7:00 PM, Mondays and Fridays 6:30 – 10:30 PM
May: 4 rehearsals per week: Sundays 1:00 – 7:00 PM, Mondays, Thursdays, and Fridays 6:30 – 10:30 PM
September: 3 rehearsals per week: Sundays 1:00 – 7:00 PM, Mondays and Tuesdays 6:30 – 10:30 PM
October: 4 rehearsals per week: Mondays, Tuesdays, Thursdays, and Fridays 6:30 – 10:30 PM

All rehearsals and performances occur at The Magic Futurebox, 55 33^rd Street, Brooklyn (D, N, R to 36^th St)

The Orpheus Variations is a live performance-interactive live video hybrid that re-imagines the classic myth of Orpheus and Eurydice in the Underworld as the tale of a transcendent sound-maker struck mute by the suicide of his lover. In a desperate attempt to reconstruct the decaying past, the sound-maker obsessively fills thousands of glass jars with single objects - keepsakes - each endowed with a singular memory of his beloved.  The Orpheus Variations uses fragmented live video technology to explore creative process and to deconstruct the classic myth from the inside out by colliding the grand narratives of Greek tragedy with the private internal narratives of modernist literature, poetry, and film.  The development of The Orpheus Variations has been supported by Chez Bushwick, The School of Making Thinking, and IRT Theater.  The project is currently supported by a curated residency with the Magic Futurebox.

The Deconstructive Theatre Project is a Brooklyn-based not-for-profit ensemble performance laboratory that exists to devise and premiere new multidisciplinary work. The company is dedicated to producing performances that experiment with the relationships between theatrical vocabularies, content, and form and to providing broad community access to its process and productions.

The Orpheus Variations is not produced in association with a union contract.

For more information: http://www.deconstructivetheatreproject.org
http://www.facebook.com/deconstructivetheatreproject

Photos from The Orpheus Variations IRT Theater workshop, January – February 2012
Photo Credit: Mitch Dean

Click the image below to view more photos via my full Tumblr post.

A warm thank you to the kind Nello McDaniel for encouraging us in our work and in this thoughtful process.

Identity

When I founded The Deconstructive Theatre Project in 2006, I was looking to create a safe space in which artists from a myriad of different disciplines would come together to think about creative process.  I wanted to create a playful arena in which company members might discover how the different vocabularies of performance could work together or push against one another to create dynamic theatre.  I wanted the artists to find as much surprise and delight as audiences did, and I wanted audiences to understand the full life cycle of a piece of theatre.

These goals remain the foundation of the company’s activities.  I hope that The Deconstructive Theatre Project will continue to serve as an instigator of questioning: how is something made?  How can it be made differently?  How do artists and audiences communicate both inside and outside of the performance arena?  How can performance reveal process?  I want The Deconstructive Theatre Project to prove the value of collaboration and to steer individuals away from a concern over individual ownership.  All art is by nature stolen.  The Deconstructive Theatre Project champions a collective trading and shaping of ideas and a shared ownership of curiosity, process, failure, and success.  When we produce a performance, I want the collaborators to stand together and wonder where one person’s contribution ends and another’s begins.

I want our community to be an extension of this collective mindset.  It is frustrating to see communities lose investment in the presence of art.  It is frustrating also to be driven to seek funding for artistic process outside of the community in which the work is being made.  This happens, I think, because artists and their larger communities do not communicate with one another as regularly as they ought to.  There has been a lot of talk about transparency lately.  I think the entire artistic process should be transparent and the community should be invited to view and partake in it.  The rehearsal room is sacred, yes; but keeping it sacred is not a matter of barring the outside world from entry, but rather a process of empowering that outside world with the tools necessary to understand that sacredness and its local, national, and global value.  Just as I hope The Deconstructive Theatre Project teaches artists to forsake concerns over individual ownership in favor of the powers of collective mentality, I aim to inspire the company’s audiences with that same shared investment in the failures, successes, and livelihood of our members and of our work.