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@madforestatbard
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A Letter from Ashley Tata, Director of Mad Forest
Dear Every Body,
There are no new stories.
5th century BCE, Athens. Plague kills 1/3 of the Athenian population. We get Oedipus the King with its references to a plague-besieged Thebes.
17th century, London. Plague kills tens of thousands. Theaters are shut down when weekly deaths exceed 30. We get King Lear, Macbeth.
During a time of physical distancing and social proximity I continue to cherish the community of makers I count as my friends and family. As I write this I am confident that one or many of you reading will make a thing that blows my mind in the months and years ahead. Because I do know the most interesting people.
Some of those people have enabled me to keep making during this time. Our production of Caryl Churchill’s Mad Forest was scheduled to open at Bard’s Fisher Center this past week. It has been rapid-response re-conceived for an online platform. We will be ready to stream it at you this coming Friday, April 10th at 7pm est via Vimeo, FB Live and YouTube Livestream.
Afsoon Pajoufar has re-conceived the scenic design, Abby Hoke-Brady the lighting and Ásta Bennie Hostetter the costumes. Paul Pinto has recomposed for heavy gate interruption. Dan Safer has re-choreographed for many small stages. Eamonn Farrell has created a video design that incorporates the realities of this platform with the aesthetic of the production. The company of actors have grown their performance imaginations to cast needs and actions beyond their isolated rooms to their scene partners thousands of miles and many time zones away. And Vanessa C. Hart has managed these stages without a physical stage! Today we begin tech rehearsal where we will be joined by technicians from all departments led by a production team who have adjusted to the circumstances with flexibility and ingenuity. All of this with an immense amount of heart, passion and rigorous craft.
We know many who are sick and some who won’t be with us in the months ahead. Reflecting on this, on my city and on the state of humanity causes me intense moments of grief these days. The financial devastation has caused me and will cause many others to think they won't be able to make anymore. This project is -- I hope -- one of the many testimonies to the power of a community of makers to keep making. Through this time and beyond.
With the deepest love, affection, respect, gratitude and enthusiasm for you all and your loved ones.
Sending health and a big virtual hug during these extraordinary times,
Ashley
Mad Forest's sound designer, Paul Pinto, answers questions about the inspirations and process he used to give the show its surreal voice.
Mad Forest will be broadcasting live April 10, 2020 through Youtube Live. Head over to https://fishercenter.bard.edu/events/spring-mainstage-2020 for more information about the broadcast.
Mad Forest's video designer, Eamonn Farrell, answers questions about the technology that's used to give the show its distinct confessional style of performance.
Mad Forest will be broadcasting live April 10, 2020 through Youtube Live. Head over to https://fishercenter.bard.edu/events/spring-mainstage-2020 for more information about the broadcast.
Mad Forest's set designer, Abigail Hoke-Brady, answers questions about the power of putting the set design into the actors' hands as they perform in separate spaces.
Mad Forest will be broadcasting live April 10, 2020 through Youtube Live. Head over to https://fishercenter.bard.edu/events/spring-mainstage-2020 for more information about the broadcast.
Highlights from an Interview With Dan Safer, Choreographer
Angela Woodack (AW): How do you choreograph a show where an actor lacks the ability to interact with yourself or other dance partners?
Dan Safer (DS): Wow, that’s a thing I’m just barely figuring out. I often do a lot of task based stuff in rehearsal, where I’ll ask the performers to come up with stuff and then show it and we go from there, and I put things together by pulling from what they have generated. It’s quite different to NOT be in the room when they are generating, but we have definitely used some of these techniques on Mad Forest. I mean, its a lot of solos and attempts at unison movement, but no partnering at this point.
AW: Do art and technology frequently interact when you develop your choreography, or would you normally consider dance separate from the other stages of developing a theatrical piece?
DS: I don’t think of it as separate, no, but this is a different kind of interaction. I think movement is a layer of a piece, and ideally all the layers of the piece are responding to and in dialogue with all the other layers.
AW: Did you consider using any special technology to bring about your artistic vision for Mad Forest, or has it always been your intention for the actors to be free agents in their performance?
DS: If we had been all in the room together this would have been quite different. I’m trying to facilitate what is most effective for this piece at this moment under these circumstances. I usually come in with a plan that I am hopefully going to abandon right away in favor of what is happening in front of me. This has just been a very extreme case of that. I’m pretty big on the actors having ownership and developing a lot of what they do; I rarely walk in with choreography that I then teach to people, so it is always a process whereby we make things together. This show is perhaps leaning even more on the actors being autonomous, but i think that is the case across the board, by nature of the circumstance.
Pictured here are the original stage models created for Luma Theater by Afsoon Pajofar, Mad Forest’s set designer. From top to bottom: The gradual lifting of the wall with the word “Da” (“Yes” in Romanian) in Act I for two different scenes; further lifting of the wall in Act II; a final, total lifting of the wall at the end of Act II, wherein actors would cross the path the wall previously blocked as bullets rained downstage.
Here are some highlights from assistant director Angela Woodack’s interview with her:
Angela Woodack (AW): What was your motivation for creating the original set design? How have you changed it to accommodate Mad Forest's movement from Luma Theater to Zoom?
Afsoon Pajoufar (AP): In the stage version of the design, we decided to create a space that projects the complex political climate of Romania with three bold gestures: before, during, and after revolution. For example, in the first act we had a massive concrete wall-an impenetrable brutal object-which it almost walled off the proscenium. The remaining narrow strip 6 feet from the edge of the stage, forced the actors to perform in the tiny area against the concrete wall! Through the revolution scene actors penetrate the space and in final act we have a wide open fragmented chaotic space.
The design approach for Zoom was completely different than stage version; it was more like production design for film. Instead of having one stage with actors on it, we had 12 actors in 12 separate studios. We had to design an environment in order to connect them together in these little Zoom windows. For most of the scenes I used framing techniques, to give the audience a sense of continuous action, making it seem as though this sequence is happening in one location. For example, I created a floor plan of Antonescu's apartment so I can keep track on actors positions to each other.
AW: Did your regular artistic influences serve as inspiration for these designs? Or were you inspired to seek out new artists to build the dramaturgical background of the set?
AP: Each project for me is an opportunity to read more books, watch more movies and discover new artists. In this case, my focus was on Romanian artists and cinema, which it helped me gain a better understanding of their history, folk culture, and contemporary life. For instance, Ion Barladeanu multilayered collages are satirical and they show influence of capitalism and western pop culture in Romania. His collages were the main inspiration for shaping the third act’s mood. There were several other directors like Cristian Mungiu, Andrei Cohn, and Corneliu Porumboiu; their work has been informative for me.
AW: Has the switch to digital performance required you to learn any new skills you previously did not use in your experience as a set designer?
AP: Practically speaking, this was a fast switch, non of us was anticipating days like these even a month ago! We've tried to adapt to the situation as fast as possible and use available online platforms and technologies in a best way to make the piece happen. I used to be a production designer, and this was such a great opportunity to brush up my experience from film days. Also, since we were dealing with camera, I had to think more like a cinematographer in creating virtual contents.
AW: Have you been part of any revolutions? If so, how did they impact your approach to the world of Mad Forest?
AP: Well, I have lived more than half of my life in Iran where it is impossible to live somehow without being connected to politics, revolutions, and etc. You know…middle east daily vibe! There are several revolutions in our history, but the two most recent are 1979 (which I hadn’t been born) and the Green movement in 2009, which I was involved, but it failed! Participating in everyday protests as a student, seeing your friends got shot and were bleeding in the streets, worried parents for their youths and eventually a failure, theoretically or practically!….They all sound so similar to Mad Forest or any other revolution having these actual experiences helped me to execute the feeling of an oppressed society under a totalitarian regime and post-revolution chaotic moments.
Protest signs made by Romanian demonstrators.
(Sources: 1, 2, 3. Trigger Warning: Images of death, blood, & gore)
Photographs by Andrei Birsan for his series My Life as A Child, Teen, and Student in Communist Romania
“RSR emblem (The Socialist Republic of Romania)”
“Patriotic labor at sorting potatoes”
“Nae’s birthday, dedicated cake for him”
“Electrotechnics class”
“College during the revolution from December 1989″
Collages by Romanian Artist Ion Barladeanu, whose frequent clippings of choice include political icons and commercial products.
The Romanian Revolution (top to bottom):
Graffiti: “At Christmas-time We Had Our Ration Of Freedom” (De Crăciun Ne-Am Luat Rația de Libertate)
Left - Two people embracing as others begin to build a shrine around a wooden cross; Right - A soldier (or rebel?) kisses another soldier as she places carnation in the muzzles of the guns.
Tanks driven by soldiers gear up to attack the People’s Palace.
More tanks arrive, this time with decorated Christmas trees.
A Romanian Hospital
Submitted by Afsoon Pajoufar, Scenic Designer.
Everyday life in Romania leading up to the Romanian Revolution (top to bottom):
A picture of Nicolae Ceaucescu presides over a Romanian classroom
Left - Romanian bottles; Right - Matchboxes from Bucharest
Left - Newspapers, c.1986; Right - Romanian children’s reading material
Various students’ desks.
Submitted by Afsoon Pajoufar, Scenic Designer.
What does the title of the play refer to?
Caryl Churchill’s inspiration for the title is taken from A Concise History of Romania by Andrei Oțetea and Andrew MacKenzie. The script for Mad Forest features an epigraph from the book wherein the authors described a forest with muddy streams that used to lie where Bucharest presently stands. This quote illustrating Romania’s “Teleorman” (“Mad Forest”) was chosen by Churchill to underscore the differences between Romanians and foreigners, as it ultimately became the play’s central conflict.
Source: Anghel, Florentina. “A Revolution for the Stage - Mad Forest by Caryl Churchill”. Romanian Journal of English Studies, Vol. 15.
Romania, 1980-1995
1980-1989: Ceaușescu, inspired by his visit to North Korea, leveled neighborhoods in Bucharest to begin creating the Civic Center district. This left tons of stray dogs to roam the streets.
1982
Prices of goods and services continue to increase; initially, the plan was to have just one large increase for basic goods, but eventually, the decision taken was to increase prices gradually for all products.
The increase reached 35% in this year alone. Not only was energy usage restricted, but its price was increased as well: electricity was raised by 30% and natural gas by 150%.
October: The Central Committee approved a law on the participation of workers in the investment fund of state-owned companies.
Through this act, the workers were given the "right" (though in practice, it was mandatory) to invest their money and become theoretical co-owners of the company.
In practice, it meant a reduction in wages for workers, with part of their earnings given to the investment fund of the company.
December: A new reform of the salaries system was introduced, wherein part of the wages were to be paid to the workers only if the company achieved its goals.
Goals were not often met, so decreases in wages were typical.
Real incomes began to shrink not only due to inflation, but also due to the lack of availability of certain products, while the flourishing black market priced out most people.
1985
November 17: Gheorghe Emil Ursu, a Romanian construction engineer and poet, dies after being beaten for weeks by police. Securitate discovered his diary, which contained poems by Nina Cassian critiquing Ceaucescu, after raiding his home.
1986
The church bishops secretly elect Bishop Alexandru Todea leader of the church with the rank of Metropolitan (context: there are six Metropolitan divisions in Romania).
Romani activist Ion Cioaba is jailed and tortured on alleged charges of cheating the government on a copper contract.
1989
November 24: Ceausescu is unanimously re-elected Communist Party chief.
December 16-17: Demonstrations occur in Timișoara in support of Hungarian priest Lazlo Tokes to protect him from arrest or relocation to a rural parish by the government. While Ceaucescu is in Iran, 118 demonstrators are shot.
December 21: Ceaucescu’s speech in Bucharest is shouted down; shootings begin.
December 22: Ceaucescu escapes, and the Army aligns with the people. The Romanian TV Station is occupied by Rebels. The National Salvation Front is formed; shootings continue.
December 25: The Ceaucescus are captured, tried by military tribunal, & shot.
1990
January-February: Demonstrations both for and against the Front and Iliescu take place.
January 8: Military tribunals in Romania began trials of Securitate accused of resisting the revolution that toppled Ceausescu.
January 27: 4 top associates of Ceausescu, charged with abetting genocide are tried.
March: Several people were killed and hundreds injured in clashes between Romanians and ethnic Hungarians in the Transylvanian city of Targu Mures.
March 5: Workers in Bucharest succeeded in removing a 25-foot, seven-ton bronze statue of Vladimir Lenin from its foundation.
March 3-7: Caryl Churchill & Mark Wing-Davey travel with acting students to Romania.
March 31-April 7: Churchill, Davey, and their Central School acting students work with students at Caragiale Institute of Theatre and Cinema.
May: Anti-Front demonstrator block center of Bucharest.
May 20: Iliescu and the Front win the majority vote during the 1990 election.
May 21: Rehearsals begin for Mad Forest.
June: Miners, transported into Bucharest in government vehicles, destroyed hundreds of Interior Ministry files.
Over the next 2 years, more organized mobs of coal miners entered Bucharest 4 more times to clash with student leaders and opposition politicians. Additional anti-government protests leave 6 people dead.
June 13: Mad Forest opens at Central School; Miners enter Bucharest to crush Anti-Front demonstrations.
December 25: Romania’s former monarch, King Michael, arrives for his first visit to the country since Communist rulers forced him to abdicate in 1947. He and his company were stopped by tanks and forced to leave the country less than 12 hours later.
1991
September 24: 5,000 coal miners led by Miron Cozma rampaged through Bucharest leaving 3 dead and ~300 injured. This prompted Iliescu’s first Prime Minister, Petre Roman, to resign.
The Vatican promoted Metropolitan Alexandru Todea to the rank of Cardinal.
1992
June 2: Andrei Ivantoc, of the Popular Moldovan Front (which called for the reunification of Moldova and Romania), is arrested by separatist authorities of Trans-Dniester. A year later he and the 3 others were sentenced on charges of committing terrorist acts against citizens of Trans-Dniester.
September: Ion Cioaba had himself crowned as King of the Gypsies in front of 5,000 followers.
November 18: Iliescu’s final Prime Minister, Nicolae Vacaroiu, begins his term in office.
1995: The capital is Bucharest. National Day is December 1. The average monthly wage is $150 ($313.13 in 2020). The government plans to adopt new taxes to reduce imports and support the national currency.