The LAX showing of Moonchops is one iteration of several artist Brian Getnick will develop throughout the following year. We are thrilled to be working with Brian Getnick at Automata this year, and can’t wait to see how this singular piece of (fully committed) performance evolves and transforms over time. What an incredible opportunity.
Brian sent us a video trailer, and some useful context about this latest performance.
This trailer is a montage of rehearsals in three characters. In MOONCHOPS a “character” is a container for different embodiments. One could say that each is separately “acted” but “acting” seems to me to be only one facet of a range of performative modalities that are encompassed by “embodiment”, and specific to this piece, “embodied fantasy” which treats the theater as an animistic sort of object seen in the round.
The Magic Faggot, or the teen from 93 -delicate and loose, his performances are interior, private, conducted in the prop room that the set for MOONCHOPS is based on.
The Prince of Purrs– a dancing antagonist. Bestial and pompous.
The Old Magician is a living anachronism. His is a performativity that is tragically out of vogue: mimesis, clown, vaudeville are his ways.
From a prop room below a high school theater a young magician practices the arts of transformation: magic, dance, story telling. He imagines this private theater as animistic: every ornament and instrument an actor. As his work progresses, the characters he invents forget him, they shift the lights, the sounds, all the instruments of theatrical illusion into their own paradigm of the so-called-theater.