CFA Arts Administration Intern Chloe Jones ’15 talks to writer,
director, and performer Thaddeus Phillips of Lucidity Suitcase
Intercontinental about the Connecticut premiere of his solo theater work
"17 Border Crossings," taking place this Saturday, February 21, 2015 at
8pm in the CFA Theater, in this entry from the Center for the Arts blog.
What was the initial inspiration for "17 Border Crossings"?
Most of the shows I’ve made with Lucidity Suitcase Intercontinental
involved traveling somewhere to make the show. The travel is done as
research for the performance. For example, we did a road trip from
Denver to L.A., and we dropped down into New Mexico where we tried to
find all the old parts or Route 66, and we filmed stuff and took notes
and developed this piece called Flamingo/Winnebago based off
that trip. We’ve done that in Bosnia, Cuba, the Amazon. But what would
happen is I would come back and tell people stories of things that
happened that weren’t directly related to the project we were doing, and
I realized I wanted to do something with all this “outtake” material
that was simply about travel. It didn’t have a storyline or a plot. It
was just about traveling, and then I realized all of the stories that I
was remembering or finding were about border crossings.
Can you talk a little about the work itself?
There
are seventeen different scenes or sequences. I had done solo work
before but very involved, complicated stuff with video or crazy sets,
and [for 17 Border Crossings] I wanted to try doing the classic Spalding Gray
monologue at a desk with a microphone and a glass of water. Because
I’ve used video in other work recently, I’ve been trying to do works
that are much more cinematic in their theatricality but with no
video—the simplest scenes possible: the movement of a chair or lights or
sound. The idea is to create a very modern/contemporary style of
theater but without any media that actively engages the audience’s
imagination, individualizing the experience more. If you use a bunch of
media, everyone’s seeing the same thing, but if you simply suggest
something and fill it in with text and sound, then the way you’re seeing
it is a little bit different than the way the person next to you is
seeing it because it’s not fully there yet.
Other than the overarching theme of border crossing, what elements of traveling does the work address?
There’s
a few: one is that modes of transportation are weird, like a plane is a
very weird thing if you really think about it, so there’s a little
sequence about being in a plane that tries to expose all that—what
you’re not supposed to think about. Then there’s always being taken to a
little square room by immigration authorities. Technically when you
land, before you leave Customs, you’re not anywhere. [It’s] this weird
space where you go through the passport control. You’re in an
architectural space that’s been defined as nowhere in the world. Then
the whole absurdity of borders themselves, like the border between
Israel and Jordan was made up by Winston Churchill, and he made jokes
about it, saying “I just invented a country!”
What do
you see as the significance of performing this work in such a globalized
world, where travel is so much more accessible than it once was and so
many more people are traveling?
When you start
talking about these little stories or human stories, what you have is a
huge global theme but [told] through specific details about a very
specific person. What the show tries to do is make very human what it is
to cross a border, from being on a plane and being completely
unconscious of what’s going on underneath you to people trying to get
across for a better life.
Lucidity Suitcase Intercontinental: 17 Border Crossings
Connecticut Premiere
Saturday, February 21, 2015 at 8pm
CFA Theater
$19 general public; $17 senior citizens, Wesleyan faculty/staff/alumni, non-Wesleyan students; $6 Wesleyan students
An Outside the Box Theater Series event presented by the Theater Department and the Center for the Arts.
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