Creating site-specific performance can be a test of patience. Megan and I really had to push ourselves to stay open and exploratory until Allan and Ellen Wexler’s Two Too Large Tables sculpture and the surrounding environment revealed an organic dramaturgical approach.
It was about our 3rd week of rehearsal last summer that we began really exploring how to use the sculpture’s unique angles and its conflicting sense of unity and fragmentation to frame and collage story. Up until that point we had been trying to find interesting ways to highlight the sculpture rather than allowing the sculpture to highlight human experience. We just hadn’t quite found what the site was asking us to do until this breakthrough.
Two Too Large Tables was asking us to solve a problem; how to tell and move through myriad stories in a multidimensional way rather than follow a single narrative arc. Solving that problem led us to the work of collecting true stories prompted by the word “TABLE”. A year later, we’ve collected over 100 table stories from people all over the United States. The listening process continues as we map stories to the sculpture. These stories will be revealed by chance through an audience interactive card-game-turned-performance. Every story belongs to a card. Every card belongs to chair. Every chair has a specific angle and every angle offers a new perspective. Ghost Card weaves these varied perspectives together to create a collage of human experience.
Another layer of intense listening is now in play with the full cast on site. Together we’ve spent hours exploring the surfaces, angles, spaces and storylines. Each performer is working to develop an intuitive understanding and personal relationship to the site. That relationship will allow them to move freely in and out of multiple stories while interacting with the audience and the sculpture in spontaneous and unpredictable ways.
Want to learn more about Ghost Card? Check out our video and show us some love!