But now that I’m reunited with all of you I finally feel complete. I felt lost and hopeless when I was gone. (Alvin Garcia, senior Manhattan Village Academy. Be good, and I hope you have the best forever more. Late nights at Calgary is what I’m thankful for. I’m thankful for everyone in the ensemble, better yet my ensemble “family!” Below are all of the teens’ statements of gratitude, along with the food they brought to share at our communal table. We then took a moment for each person to write down a simple expression of thanks. All Rights Reserved.Corn bread, rice and beans, pernil, and thanks. It's a play about theater, about atomizing the audience more so they can do what they please with it."Ĭopyright ©2022 Dow Jones & Company, Inc. It is the frame and the act of looking through it that give the impression of privacy, the director said, but it's the acting, not the imagined acts, that should ultimately fascinate: "These guys are so virtuosic and you know you're watching them create even while you're watching the character. It should be a real violation, but it's an imagined violation." "Voyeurism is seeing something real that you weren't supposed to see. "People talk about the voyeurism in this-it never occurred to me that you could have a voyeuristic response to something you knew was a fiction," he said. But just when you think it's all about prurience, Mr. "Habit" offers the chance to peer into private lives, and in the current culture of reality television it's natural to interpret the play as being about looking where you shouldn't. That's what's exciting about it: you don't know how people will react to it." You can see people from the opposite side of the house-you have permission. : "There's an element of voyeurism watching people watch the show. The audience's reaction might be as much a part of the performance, said Mr. "Do I stay for five minutes and go on to the next thing or do I want to see what the play is?" "It's like a gallery, but there's a drama going on and a script being performed, and what's more compelling?," said If it seems less like theater than an art installation centering on a live piece, well, that's the intent. At times, emotions and bodies may be bared. The actors move freely within the house, eating, showering and sleeping, constrained only by the walls and their lines. "We've become very used to the illusion of reality as commonplace and this takes it to another level." "It may take people a while to understand that what they're watching is, in fact, a play," saidĪ co-curator of the festival. Viewers also decide how long they want to stay-the show has an open-door policy, so people can wander in from the street, see segments or the entire cycle. The audience may walk around it and peer through its windows, choosing a viewing perspective and, thus, a personalized experience. The entire play takes place inside a rag-tag suburban ranch house-a three-dimensional, 700-square-foot structure with plumbing and a working kitchen inside an abandoned part of the market at 130 Essex St. It requires a great amount of risk from the actor." The final script direction-"something happens"-invites them to invent new endings, an outcome they can't know themselves until the last moments of the play.Īctor Eliza Baldi likened it to a "structured improvisation: "We do have plot points we have to achieve, but the path we take to the top of the mountain is completely variable. "It is an acting style in its purist form."īut if the character types are "typical" for theater-the beautiful but damaged soul, the stripper philosopher, the druggie thug-the actors' freedom to portray them as sympathetic or despicable from one performance to the next, as well as to decide their ultimate fate, is not. The format, he said, allows the performers to engage in the highest form of virtuosic acting: naturalistic and without the artifice of conventional theater or the fixed gaze of a sedentary audience. Levine, who splits his time between New York and Berlin. "Any decision that anyone makes has to be listened to and will change the course," said Mr. Just as no two tangos are alike, neither are any two performances of "Habit." In "Habit," words and how they're uttered drive the actors' actions and decisions. ELIZA BALDI HOW TOIndeed, the play is much like a tango-intuitive and reactionary, each performer knowing the basic steps, but not how to execute them until they feel the subtle pressure from their partner. Natalie Keyssar for The Wall Street Journal The set of 'Habit' is built in the center of a raw space, and features views into an 'apartment' via windows.
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