"IKON"
A modern monologue by Motherboard
Version 02
With this project we aim to explore new potentials of the monologue as a theatrical
form by employing classical dramatical dilemmas (such as self realization,
delusions of grandeur, soul searching and suicide), and modern notions of
the networked theatre, such as random sites of exchange (so things don't happen
in a fixed sequence), interactivity (one thing or person or event relates
to another), swift exchanges of information (so 'meaning' can be made and
communicated more or less instantly), synaesthetics (cross-wiring sensory
connections) and the dissolution of pyramid structures (authority isn't what
it used to be - which doesn't mean that it's gone away).(1)
Introduction
In historical terms an icon is a devotional aid that gives a physical form
to the transcendental. As the title of Motherboard's project it is an entrance
point to a performance that synthesizes the rise and fall of an icon, or idol.
Iconized figures often lead turbulent, scandalous lives that equally often
end in tragic circumstances. However, they also seem to synthesize the social,
political and artistic revolutions happening around them. Most icons achieve
their status through death, typically at a young age, such as Jesus Christ,
Jim Morrison, Marilyn Monroe and Joachim (Jokke) Nilsen. Adoration of pop
icons is due only in part to their often extraordinary and innovative accomplishments;
the far more important factor is their apparent attainment of eternal youth.
However, even celebrities who died in mid-life can achieve this "eternal
youth" as long as the public chooses to simply ignore all images of them
past a certain date, as has been done with Elvis Presley, Vaclav Nijinsky
and Maradona (still alive, but not really kicking). Death nearly always increases
the average person's awe of a public figure. The sense of finality that accompanies
their departure signals the fact that they are no longer capable of future
betrayals of trust (for example, the ambiguity surrounding Michael Jackson
and the pedophilic accusations against him). Thus, it is now safe to "worship"
the icon.
Or is it?
Ikon is based on the classic theatrical model of tragedy where the protagonist,
or hero, is flawed by weaknesses -internal forces (such as an inflated self-image,
over indulgences in social taboos, dependency on public adoration, paranoia,
etc), often triggered and ironically amplified by external factors (over exposure
in the mass media, idolization, betrayal, etc) that eventually lead to his
downfall. Throughout the course of the drama he attempts to overcome obstacles
placed in his path as he struggles to achieve his objectives. Needless to
say, the play ends in unfortunate circumstances.
Tragedy and technology – the networked stage
In Ikon, tragedy is appropriated or adjusted through the vices of networked
theatre (as described above) where technological means are used to wobble
the dramatic curve off its expected course in unusual, anachronous ways. Technology
is also used to help bring the inner life of a man to the exterior world of
the scenic room, and to bring the exterior world beyond onto the stage.
By wiring the stage for interconnected activity, we create a situation where
any event may trigger another activity or event. In technological terms this
process is generally referred to as physical computing, meaning that anything
(a gesture, a sound, a moving image, etc) that can be digitized can also be
read by a computer and used for 'something else'. For example, the physical
properties of lighting changes on stage can be used to affect the soundscape
(light is perceived as sound), which can simultaneously manipulate projected
visual imagery. Whether synchronous or discordant, the collective elements
should be perceived as being connected, or acting in relation to one another.
The cross-wiring of sensory inputs and outputs via technological tools is
referred to as 'synaesthetics' and will be a constant feature of Ikon. Synaesthetic
events may be sequenced to strengthen the pathos of the play accentuating
emotional impact, or the logos of the play, bringing important knowledge to
centre stage. Certain recurrent sequences (for example the use of symbology
in the visual imagery on a background of colour that shifts in relation to
sound) shall be used to tell the audience what is coming next, functioning
in much the same way as a Greek chorus.
In addition to using audio and visual material, we also intend to use the
sense of smell as a protagonistic factor. Smell is often sighted as the sensory
modus that has most impact on memory and emotions, and is highly subjective
to the nose that remembers! By emitting smells via digital triggers that only
seem to affect the audience (and not the actor) a new layer that affects perception
directly through the senses is added.
Method
Our method is to work in a collaborative, experimental process as long as
possible, combining interdisciplinary skills of theatre, music, dance and
visual/video art. All scenic elements will be given equal focus and will be
collectively geared towards creating an anachronous expression. But whatever
technological and interdisciplinary strategies are employed, at the end of
the day the actor must provide a believable image of a man for the play to
convey anything at all. As an archetypal tragic hero, our Icon is undefined
as an individual personality. Possibly he is Elvis, but claims he is Kurt
Cobain. Possibly he is Madonna who says she is Maradona. Possibly he is Jesus
claiming to be Don Quijote! There is much scope to chose from in the realms
of idolized iconic figures, both living, imaginary and dead. However, we intend
to draw upon iconic figures mainly from the 20th Century to the current day
– figures that are easily recognisable and can be associated with a
certain time, or epoch. It is a challenging role.
Regarding the manuscript, basically there isn't one. Not yet! This project
is an experimental endeavour where each member of the team is challenged to
work in new ways. We are currently following the trajected path laid out by
the tragedy, examining existing texts from the classic Fedra to Sara Kane's
Fedra, from King Lear to The Seagull for inspiration. Possibly an existing
text will be deconstructed. Possibly a manuscript will be developed based
on the fragmented, sampled words of icons from the past and present –
or a combination of the two. This path remains intentionally open for the
time being. Towards the end of our process, as the work is sharpened in and
the monologue takes form, a final wobble will be implemented. An additional
actress will enter the scene as an antagonistic character who subverts and
challenges the contract of the monologue by her inclusion. This is not meant
merely as a postmodern ploy, but rather as a radical gesture that completes
our initial aim of exploring the potential of the monologue as a theatrical
form. It is the final anachronism in a string of many.
What we ultimately hope to achieve by this project is to present the audience
with a slippery view of reality seen through the eyes of a fallen idol, staged
as a fragmented, anachronous, sensuous, evocative performance that never-the-less
makes sense. We wish to present the audience with the open-ended question,
“Is it still safe to worship the Icon?”
1. Adapted from "2D/3D", Andy Lavender, published in Performance/Technologies,
A User's Guide, King Alfred's College in association with Total Theatre Network.
Some influences, inspirational sources and references
Some kind of Monster (the film), Metallica, 2004
Dead Celebrity Diaries, Kate Pendry, from 1999
Wouldn't it be Nice (biography), Brian Wilson with Todd Gold, 1992
Art of Memory (film), Woody Vasulka, 1987
Bohemian Rhapsody (the video), Queen, 1975
Diego Armando Maradona, born 1960
Madonna, born 1958
Elvis Presley, 1935-1977 (particularly the late 60's -70's period)
Jim Morrison, 1943-1971
Marilyn Monroe, 1926-1962
Antonin Artaud, 1896-1948
Vaclav Nijinsky, 1890-1950
Jesus Christ, approx. 4 BC - approx. 30 AD