Q: Is there a freedom in that kind of work? Experimentation in trying different ways of moving through this space?Ī: Yes. I’m thinking of finding what’s beautiful in the surveillance footage. I’m thinking about opening the can in a way that makes sense without a can opener. I never felt that alone.Īnd also because it’s not a conventional performance I’m not thinking about performance. In the respect that like the inanimate objects and the art and the space – and working quite closely with the crew and all the departments – I am like an object in the space. Q: That challenge, of an almost solo performance – what was it like to work that way?Ī: You know, the truth is I don’t remember. In an interview, edited for clarity and length, Dafoe talked about what it was like during those 32 days as Nemo struggles to stay alive, his only human contact is the housekeeper he watches on the surveillance screens, his only hope to use the art and furnishings in the apartment to find a way out. “I’ll tell you how long I was there,” he says, laughing.
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