ALL ABOUT IMAGE/
WE ARE THE ELITE
JMAE welcomes to the client roster: Marcina Zaccaria and her new play presented at this year’s FRINGE:
All About Image/We are The Elite
Writer: Marcina Zaccaria
Director: Tony Tambasco
Photographers, Videographers, Assistants, and their Subjects are under scrutiny. Capturing images, they affirm their aesthetics. What they see is under critique. What they present is a complete outpouring of their entire vision.
The Kraine Theater
85 E 4th St, New York City
October 3 @ 7:00; October 4 @ 7:00; October 5 @ 5:15; October 6 @ 5:30
What makes it to the gallery, to the screen, or to the theater?
In All About Image/ We Are the Elite, Photographers, Videographers, Assistants, and their Subjects are under scrutiny. Capturing images, they affirm their aesthetics. What they see is under critique. What they present is a complete outpouring of their entire vision.
A drama written in the present time, taking place in New York City and other parts of the US, All About Image/ We are the Elite is a journey of the people who make images. In the process of capturing and making images, the characters explore their personal relationships, while re-affirming their aesthetic principles. With attention to memory, consciousness, and place in time, action occurs and re-occurs. Quiet and stillness are values.
In All About Image/ We are the Elite, in monologues and dialogues, revelations are within their grasp. Are they always in the process of creating something that is greater than what’s on a page, what’s in the photo gallery, and what’s on the screen?
About the Visual Language:
Production Design and The Empty Space
While considering what is happening in the space, we find that there is a juxtaposition of video and a spare stage of black and white. How does the sense of action continue? As explained by Design Team Karen E. Root, Jak Prince, and Tony Tambasco, and Dramaturg Sophia Romma, Video Design and Still Images are key.
In guided interviews, the design team will address the following questions: How do costumes, staging, dialogue, and sound echo the video we have already seen?
According to Playwright Marcina Zaccaria, the construct is, as follows:
Actors speak in vignettes, coordinated with static and moving images. The experience can be meditative and reflective. Inspired by the Cinematograph and early photographic techniques, objects projected near the actors can move in different rhythms.
Focus can be soft and hard, accentuating foreground, then background. With the person as a primary target, attention can shift. What shifts can move slowly or quickly. For instance, a person might remain in a static, still-frame, while the sky and moving vehicles behind them might move quickly.
The play takes place in the present time, but as it deals with memory, the images can look as though they have been weathered. Sepia can give the look of time-worn tradition. Rain, wind, or snow can show a passage of time.
While the natural world can appear and re-appear in green and brown (like trees or leaves), there can be options in the palette for greater expansion, if the range feels too limited. To re-iterate, in terms of color, there are options. It can be debated whether a very saturated’60s feel can evoke a bouncy, almost musical feeling, greatly in contrast to a classic, aged look.