An insight from one of the Muncitor: All Workers Go To Heaven collaborators Taghrid Choucair-Vizoso:
Fragments from the memorable rehearsal weeks:
The first for the freshness, excitement, and wonder. To create our experiment, we experimented. We experimented with knowing volunteers to whom we are very thankful, we experimented with unknowing volunteers to whom we are even more thankful (and a little bit sorry too). And when I say experimented, I don’t mean it in the same senseas when we describe theatre as ‘experimental’. I mean the old-school experiment definition.
We discovered physical identities by having a photographer follow us for a day. We discovered emotional identities by sharing private online conversations with mothers, fathers, partners, ex-lovers, bosses, friends, and foes. We created fake, but essentially hyper-real online personas. We talked about politics and the various manifestations of democracy, capitalism, and communism in our respective countries. We found the ways in which all three of these had been one woman’s liberation and another woman’s oppression.
We listened to coughs, sighs, pen clicks, gulps, and humming through headphones. We decidedthat everything was immediately more fascinating when listened to through headphones and looked at through glass.
The last for the layering, the creative problem-solving, and the nearing prospects of the encounter with an audience. In this case, not conventional spectators, but participants…
Participants that have the ability and shall we appropriately say, power, to command the performance every which way they like. That is what makes performance a live art form.
And all throughout, we drank coffee and almost learned Romanian.