T H E T H E·ATRE OF LU·NA·TIC a work by Monica Chen, 2021 tutor: Victoria King
T H E E S S E N C E O F T H E AT R E A RT I S C O N F L I C T – H OW H U M A N BEINGS FACE AND DE AL WITH THEM. T R AU M AT I Z E D P E O P L E F E A R O F C O N F L I C T, F U N DA M E N TA L LY B E C A U S E T H E Y F E A R O F T H E E M OT I O N S O F T H E M S E LV E S , A S FEELING THEM DEEPLY MAY LET THEM LOSE CONTROL . T O D AY, T H E AT R E I S U S E D A S A T H E A R A P Y F O R T H E T R A U M AT I Z E D , H E L P I N G T H E M R E G A I N T H E I R C O U R A G E I N CONFRONTING CONFLICTS.
2 .0M 1 .5M A HD 1 .0M 0 .5M T GZ
FORT DENIS ON TIDAL C HART, 2021
L U·N A·T I C ( a d j . & n.) (dated)1: affected with a severely disordered state of mind; (dated)2: designed for the care of mentally ill people [1]
THE WORD “LUNATIC” IS ETYMOLOGICALLY DERIVED FROM "LUNA", MEANING THE MOON, AS PEOPLE THEN BELIEVED THAT INTERMITTENT INSANITY "FLUCTUATED WITH T H E P H A S E S O F THE MO O N" [2] . EVEN NOW, THERE ARE STILL SIMILAR THEORIES THAT HUMAN EMOTIONS HAS A SLIGHT BUT NATURAL CORRESPONDENCE WITH MOON AND TIDE PATTERNS - ON A NEW MOON OR A FULL MOON DAY, THE TIDAL CHANGES BECOME EXTREME AND PEOPLE ARE MORE LIKELY TO E X P E R I E N C E S TRO NGER EMO TIO NAL WAVES.
T H E A T R E O F C R U ELTY T H E AT R E O F C R U E LT Y I S A N E X P E R I M E N TA L T H E O RY P RO P O S E D B Y ANTONIN ARTAUD. HE BELIE VED THAT THE ATRES M U S T F O RC E PEO PLE TO PE RC E I V E V I O LE N C E A N D E VO K E OVERWHELMINGLY U N PLE A SANT FEELINGS OF THEM LIKE FE AR . H E E X PEC TE D IT TO B E A C ATH A R S I S , P U R I F Y I N G PEO PLE A N D PREPARING THEM FOR THE RE AL LIFE . ACCORDING TO ARTAUD, THE CRUELT Y THE ATRE WOULD B E O F M I N I M A LI S T A N D B RU TA LI S T S PAC E A N D LIT TLE V E R B A L E XPRESSION. HE EMPHASIZED PHYSICAL TENSIONS , BIZ ARRE LIGHTING AND ACOUSTIC EFFECTS TO IMMERSE AND ASTOUND HIS AUDIENCE . ARTAU D AL SO RE I MAG I N E D TH E RE L ATION S H I P B E T WE E N AUDIENCE AND PERFORMERS. IN HIS DESCRIPTION, HIS AU D I E N C E WO U LD B E TR A P P E D O N S P I N N I N G C H A I R S I N TH E M I DDLE O F TH E ROO M , W H I LE PE R F O R M E R S A R E F R E E TO RU N AROUND THEM.
R E PR E S E NTATI V E WO R K S O F C I N E M A & TH E ATR E A RT THE SEASHELL AND THE CLERGYMAN, SCRIPT & FILM, 1928
THE THEATRE AND ITS DOUBLE, BOOK OF ESSAYS, 1938
LES CENCI, PLAY, 1935
A LI F E O F I L LN E S S A N D TR E ATM E NT DIAGNOSED WITH MENINGITIS AT 4, 1901 PRESCRIPTION OF OPIUM STARTED WHICH LATER CAUSED DRUG ISSUES, 1919
ELECTROSHOCK TREATMENT WHICH CAUSED VERTEBRAE FROM VIOLENT CONVULSIONS; & ART THERAPY, 1943
A LI F E O F B E I N G E X P E L L E D A N D I SO L ATE D DISCHARGED FROM FRENCH ARMY IN WWI DUE TO SLEEPWALKING & OTHER MENTAL ISSUES, 1917
EXPELLED FROM SURREALISM MOVEMENT, 1926
FORCIBLY DEPORTED FROM IRELAND AS "A DESTITUTE AND UNDESIRABLE ALIEN" ACCORDING TO IRISH GOVERMENT, 1937
A N T O N I N A R T A UD
A RTAU D H I M S E L F, T H O U G H S U C H A C R E AT I V E G E N I U S H E WA S , L I V E D A S HO RT AND MIS ERABLE LIF E. H I S W H O L E L I F E H A D B E E N F I G H T I N G W I T H VA R I O U S M E N TA L DIS O RDERS , S U C H AS AQ UAP HO BIA, DELIRIUM, B IPOLA R D I S O R D E R , E T C . H E A L S O H A D D RU G A D D I C T I O N I S S U E S D U E TO A P R E S C RIP TIO N O F O P IU M S INC E HE WAS 23. HE HA D B EEN I N A S Y L U M S I N S E V E R A L C O U N T R I E S F O R I S O L AT I O N A N D T R E AT M E NT. N E I THER WAS HIS TALENT REC O GNIS ED AT HIS TIME - HIS M A J O R T H EATRE P RAC TIC ES WERE DEF INITELY UNW ELCOME B Y H I S AU D I E N C E . H E WA S O N C E I N T H E S U R R E A L I S M M OV E M E N T, B U T WA S LATER EX P ELLED BY HIS F ELLOW ARTISTS. T H O U G H I N H A R D S H I P, A RTA U D P RO D U C E D Q U A L I T Y W O R K S I N D I V E R S E F I E L D S . H E I N F L U E N C E D M A N Y OT H E R THEATRE AND ART THEORIES, SUCH AS THE THEATRE OF ABSURD.
BUILT ON PINCHGUT ISLAND AS MILITARY FORT, 1855 - 1857 MILITARILY ABANDONED, 1870
DAMAGED BY A JAPANESE SUBMARINE IN WWII, 1942
F O RT D E N I SO N AT WA R
TIME GUN INSTALLED TO FIRE DAILY AT 1PM, 1906 1PM GUN STOPPED FIRING DUE TO WAR, 1937 1PM FIRING RESTORED, 1986
TIDAL GAUGE INSTALLED, 1908 TIDAL RECORD STARTED, 1914
APPEARED IN FILM: THE SIEGE OF THE PINCHGUT , 1959
INTRODUCTION BROCHURE OF FORT DENISON, 1966
REMOVABLE CANOPY PROPOSED; OPENED TO PUBLIC AS PART OF NATIONAL PARK 1992 CLOSED FOR CONSERVATION, LATE 1990S REOPENED TO PUBLIC, 2000
R E B O R N : E N G AG E M E NT I N P U B LI C C U LT U R E
FORT DENISON
F O RT D E N I S O N WA S I N I T I A L LY B U I LT O N P I N C H G U T I S L A N D F O R S Y D N E Y ' S C O A S TA L D E F E N C E , B U T M E R E LY 1 3 Y E A R S A F TER IT WAS BU ILT, IT WAS MILITARILY A B ANDONED. I N 1 9 1 4 , F O RT D E N I S O N B E C A M E T H E T I D A L G A U G E S TAT I O N O F S YDNEY C ITY AND IT IS S TILL WORKING TODAY. IT IS ALSO A NATIONAL PARK WITH A PUBLIC MUSEUM AND OTHER TO U R I S T FAC I L I T I E S . I T A L S O E N G AG E D I N P O P C U LT U R E I N 1 9 5 9 , W H E N IT AP P EARED IN A F ILM. F O RT DENIS O N IS A WITNES S O F HIS TORY. IT UNDERW ENT AT TA C K S F R O M S T O R M A N D WA R , A N D A L S O M O D E R N R E N O VAT I O N S , S U C H A S T H E C O N S T R U C T I O N O F T H E R E M OVA B L E C A N O P Y F O R S P E C I A L E V E N T S . T H E C A N O P Y I S N OW U S E D F O R A RES TAU RANT.
F O RT D E N I SO N ' S M I L ITA RY S E RV I C E
PR E - F E D E R ATI O N O F AU S TR A L I A
A NTO N I N A RTAU TR AU M A , C R E ATI O N A N W WI
U D' S LI F E : ND EXILE W WII
F ER RY RO U T E : C E N T R A L I Z E D - > D I V E R G E D
LA NDMA R KS: ENCLO SED - > O P EN
VEGETATION: C U LTIVATED - > WILD
1 SYDNEY OPERA HOUSE 2 KIRRIBILLI HOUSE 3 KURRAB A RESERVE 4 FORT DENISON 5 ROBERTSONS POINT LIGHTHOUSE 6 BRADLEYS HEAD AMPHITHEATRE 7 CLARK ISLAND 8 GARDEN ISLAND 9 MRS MACQUARIE'S CHAIR
3
5
2
6
4
ED SITE
PROPOS
1
8 9
7
0
50
100
250
500m
LOC ATION PLAN 1:10000
TI D E S O F F O R T D ENISON
AC C O R D I N G TO T H E T I DA L R E C O R D O F F O RT D E N I S O N , O N A K I N G TIDE DAY ( AT NEW MO O N / F U LL MOON) THE TIDA L C H A N GE S C AN VARY U P TO 2M O R EVEN MORE. T I DA L H E I G H T I S R E C O R D E D B A S E D O N T I DA L G A U G E ZE RO, W H I C H IS - 1. 009M AHD ( AU S TRALIAN HEIGHT DATUM). T H E REF O RE, THE LOWES T S EA LEVEL, T HE MEAN SEA LEVEL A N D T H E HIGHES T S EA LEVEL IN A YEAR WIL L DIFFER ROUGHLY AT A N 1 M INTERVAL.
S ITE TERRAIN
0
5
10
25
50m
S ITE S EC TION 1:1000
KURRABA POINT
MA T E R I A L I T Y O F F O R T DENISON
B E F O R E F O RT D E N I S O N I S B U I LT, P I N C H G U T I S L A N D I S A S M A L L S A N D S TO N E I S L A N D W H I C H WA S Q UA R R I E D TO B U I LT T H E C I R C U L A R Q U AY. T H E S A N D S TO N E S F O R B U I L D I N G T H E F O RT W E R E Q U A R R I E D A N D T R A N S P O RT E D F RO M K U R R A B A P O I N T. T H E M AT E R I A L O F T H E C A N O P Y R E S TA U R A N T I S S O F T T R A N S LU C ENT C U RTAINS , F O RMING A S TRONG JUXTAPOSITION TO GE T H E R WITH THE MAIN PART O F THE F ORT.
CIRCULAR QUAY
FORT DENISON
SANDSTONE BRICKS
PVC CURTAINS
VESSEL ARRIVAL (HIGH TIDE) PEDESTRIAN ARRIVAL (LOW TIDE)
0
5
10
25
50m
S ITE PLAN, ROOF PLAN & AC C ES S S EQU ENC E 1:1000
ENTRANC E BY BOAT AT HIGH TIDE
ENTRANC E BY FOOT AT LOW TIDE
CL AUSTROPHOBIA
THAL ASSOPHOBIA
TR AU MATIZED
DEPRESSION
DELIRIUM
PERCEP TION RESHAPED
MANIA
CRE ATION AND FINDINGS
SOLITUDE
E XPELLED AND I SOL ATED
F O RM FIN D I N G D I AG R A M
CL A U S·T R O·P H O·B I·A (n.) a n extreme fear of being shut in a small place; the unpleasant feeling that a person gets in a situation that limits them. [3]
WA LL PA NELS MOVED BY HYDRAU LIC RODS WORKING PRINC IPLE DIAGRAM
"His eyes were finally used to the darkness, but there was nothing much for him to see. He tried to move his arms a little bit, but the space was quite limited. He was held there, waiting for the walls to move. It was then the music started to play. He quietly listened in the darkness, standing still. Such a weird concert, he thought."
— Chapter I: Claustrophobia
TH A·L A S·S O·P H O·B I·A (n.) an intense fear of deep bodies of water. People with thalassophobia experience sudden onset of anxiety when exposed to triggering stimuli, which can include deep pools, the ocean, or lakes. [4]
"Water. Water. Water. ENDLESSLY. IMMERSIVELY. OVERWHELMINGLY. Every sound was blurred. A predominant crack echoed from afar... from up top. Waves crushing on some hollow metal. The beacon. Dancing light came from the surface. Fish passing by cast their shadows. So lost in such vast. Water. Water. Water."
— Chapter II: Thalassophobia
D E·P R E S·S I O N ( n.) 1: the state of feeling very sad and without hope. [5] 2: a place or part that is lower than the surrounding area. [6]
"He couldn't see whatever is happening at the end of the staircase unless he headed towards the unknown. The staircase was lit by a skylight from the back, where there is clearly something moving outside of it because of the shadows, but too tall for him to know what that is. "
— Chapter III: Depression
S PAC E
P H Y S I C A L D I S TA N C E
DEFENCE
S PAC E
P H Y S I C A L D I S TA N C E
DEFENCE
"At first one would call it a spacious room... And later, one wall and the ceiling started to press onto them. People were slowly squeezed into the same corner. The exit became farther and farther. Dreadful silence. One woman looked as if she was about to scream. It is then that X came across with a boy at his grandson's age. He saw the boy's eyes tearing up, so he patted him on his arms."
— Chapter III: Depression
D E·L I R· I·U M ( n .) an acute mental disturbance characterized by confused thinking and disrupted attention usually accompanied by disordered speech and hallucinations. [7]
WORKING PRINC IPLE DIAGRAM
90° 85°
0
1
2
5
10m
75°
60°
45°
35°
S KYLIGHT S HADOW S TU DY
"This was a white room. SO WHITE that it almost had this hospital quality. Clean. And cruel. Yet there were trusses in black metal. Somehow it reminded him of the bars in prison. They were not seated together, so he said goodbye to the boy and found his place. The link between human could really be temporary, he thought to himself."
— Chapter IV: Delirium
TR A D ITI O N A L M O D E O F TH E ATR E
TH E TH E ATR E O F C RU E LT Y
E X P E R I M E N TA L M O D E O F TH E ATR E
TH E ATR E R E H E A R S A L / WO R K S H O P
M A·N I A ( n . ) 1: excitement manifested by mental and physical hyperactivity, disorganization of behavior, and elevation of mood.
2: excessive or unreasonable enthusiasm. [8]
TO O P ER A H O U S E
TO MR S MAC Q UA R IE'S C H A IR
TO GA R DEN IS LA ND
TO BR A DLEYS H EA D A MP H IT H EAT R E
TO KU R R A B A R ES ERV E
TO FO RT DENIS O N
"And all of a sudden he is freed - and the world began to unroll for him like a panorama. He could hardly believe it. This place! A place where he could explore at liberty, without any designated location he was bounded. A place of remarkable visual power. Visual power over a time sequence. Seeing people moving past where he came, where he passed and where he would go. Almost a metaphor that he suddenly got to overlook his whole fate. A place of no end. He could just walk round and round and round and round as long as he wanted to. What a freedom. He was ecstatically imprisoned in it."
— Chapter V: Mania
EXPERIENCE A VIRTURAL MANIA TOUR WITH X HERE:
HTTPS://PANORAVEN.COM/EN/SLIDER/VWKBBTYTKI
S O L· I·T U D E ( n .) 1: the quality or state of being alone or remote from society.
2: a lonely place. [10]
ELEVATOR WITH VIEW WINDOWS
STEEL BRACING
LIGHT TIMBER FRAMING, COVERED WITH LIGHT-
STEEL PAINTED IN BLACK
WEIGHT BOARD & ACRYLIC GLASS
BOLTED TO THE SPHERE
BRACED WITH STEEL RINGS OPEN TO THE SKY
ENTRANCE
VIEWING PLATFORM
STEEL & METAL NET PAINTED IN BLACK
TIMBER FRAMING & DECKING
HINGED & BOLTED TO THE SPHERE
BOLTED TO CONCRETE RING BEAM RING BEAM BOLTED TO THE SPHERE
THE SPHERE ACRYLIC GLASS
BALUSTRADE STEEL & METAL NET PAINTED IN BLACK BOLTED TO THE PLATFORM
RAMP TIMBER FRAMING AND PAVING SCREW FIXED
CLEATS FOR FASTENING THE SPHERE TO THE DOCK
SEAT
STEEL PAINTED IN BLACK
TIMBER FRAMING AND DECKING
BOLTED TO THE SPHERE
0
0.5
1
SCREW FIXED
2.5
5m
DEC IS IVE DETAIL 1:50
"He would call it an exile, rather than an exit. All the visitors, at the end of the day, would board this giant translucent sphere and float all the way to Bradleys Head Amphiteatre. He was told that the sail was one thousand and eight hundred metres, but he could not really see where it ended. Ever ything except of that was perfectly in sight , but that was it . He couldn't feel anything outside the sphere. Not the speed of the breeze. Not the coolness of the ocean. Not even the hustle and bustle of the city, which they are slowly driven away with. All he knew was that he was floating. To the afar."
— Chapter VI: Solitude
EX IT PERS PEC TIVE
AIR OUT FROM VENTS TO TAKE WATER IN
COMPRESS AIR PUSHED IN VENTS TO DRIVE WATER OUT
WATER INTAKE & OUTLET
WEIGHT FOR BALANCING
WORKING PRINC IPLE DIAGRAM
VIS ITOR C IRC U LATION DIAGRAM
VIS ITING S EQU ENC E DIAGRAM
1
VESSEL ARRIVAL
2
PEDESTRIAN ARRIVAL
3
ENTRANCE HALL
4
FEMALE B ATHROOM
5
MALE B ATHROOM
6
SECONDARY THEATRE | DEPRESSION
7
REVOLVING DEVICE
8
ELEVATOR PLATFORM TO B ACKSTAGE
9
MAIN AUDITORIUM | DELIRIUM
10 CONTROL ROOM 11 OUTDOOR THEATRE PLAZA | MANIA 12 STAFF OFFICE 13 SEASIDE PLATFORM 14 ROOF GARDEN 15 C AFE + BOOKSHOP 16 DOCK 17 FLOATING & TRAVELING THEATRE | SOLITUDE 18 LIGHTING BEACON
2
1
4 5
15 18
6
3
12 13
14
8 11
7
9 16 17 10
0
5
10
25
50m
GROUND LEVEL PLAN 1:500
19 ACOUSTIC THEATRE I | CLAUSTROPHOBIA 20 ACOUSTIC THEATRE II | THALASSOPHOBIA 21 MALE STAFF BATHROOM 22 FEMALE STAFF BATHROOM 23 SEA VIEW RESTING ROOM 24 STAFF CAFETERIA 25 BACKSTAGE AREA 26 DEVICE ROOM FOR LIFTING AUDITORIUM 27 UNDERSEA CIRCULAR WALKWAY 28 OUTDOOR PERFORMING PLATFORM 29 CAFE + BOOK SHOP 30 KITCHEN 31 STORAGE
23 20
29 21
19
22
24
30 28
31
25 27
26
0
5
10
25
50m
UNDERSEA LEVEL PLAN 1:500
FLOOR PLAN OVERLAYING DIAGRAM
STA FF A R EA
C AFE + BOOK S HOP
C AFE + BOOK S HOP INTERIOR
C AFE + BOOK S HOP INTERIOR
NORTHWEST ELEVATION
NORTHEAST ELEVATION
SOUTHEAST ELEVATION
SOUTHWEST ELEVATION
O P ERA HOUSE
0
1
2
5
10m
THEATRE ROOM OF THALASSOPHOBIA WITH LIGHTING BEACON CONNECTING SYDNEY OPERA HOUSE & BRADLEYS HEAD AMPHITHEATRE OUTDOOR PERFORMANCES CAN BE SEEN FROM TWO LEVELS
B RA DLEYS HEAD
S EC TIONAL PERS PEC TIVE A 1:150
PERFORMERS WAITING AT BACKSTAGE AREA
HYDRAULIC ELEVATED PLATFORM TRANSPORTING PERFORMERS AND PROPS THEATRE ROOM OF CLAUSTROPHOBIA DIFFERENT ENTRANCES AT DIFFERENT TIDE LEVELS
0
1
2
5
10m
S EC TIONAL PERS PEC TIVE B 1:150
CONCRETE WITH LAYERED PATTERN
WAFFLE ROOF BEAMS
STEEL TRUSSES PAINTED BLACK
TINTED GLASS
ACRYLIC GLASS
CONCRETE BEAMS & POSTS
S TRU C TU RE & MATERIALITY DIAGRAM
C ONC EPT DIAGRAM
PHAS E I FLOOR PLAN
PHAS E I AUG 8, 2021 - SEP 14, 2021
S ITE INVES TIGATION
BATHROOM 60SQM ENTRY 70SQM LANDSCAPE & SEASCAPE
STORE 50SQM
ENTRY 70SQM
AUDITORIUM 350SQM
STAGE 60SQM
CAFE + KITCHEN 140SQM
BATHROOM 60SQM STAFF USAGE 240SQM
AUDITORIUM 350SQM
STAGE 60SQM
BACKSTAGE 160SQM
PROGRAM S TU DY
GIANT OPENING PROVIDES A DE LIC ATE AMOU NT OF VI S UAL INFORMATION ON ARRIVAL
PRE PAR ATION ARE A S HARED BY M U LTI PLE THE ATRE ROOM S IM PROVES EFFICIENCY
LIGHTING C AT WALK GIVES TECHNIC AL S U PPORT
HYDR AU LIC PL ATFORM C ARRIES STAFF AND PROP S FROM BACKSTAGE TO THE ATRE ROOM S
0
1
2
5
10m
CIRCULAR SUNKEN SPACE ALLOWS WATER TO FLOW IN AND OUT AS THE TIDES CHANGE
TRANSLUCENT SPHERE TAKES AUDIENCE AWAY
HEAVY BOTTOM HELPS BALANCING IN WATER
S EC TIONAL PERS PEC TIVE 1:100
0
1
2
5
10m
A XO NO MET R IC DR AW ING 1:200
0
1
2
5
10m
0
1
2
5
10m
THRES HOLD S EC TION 1:100
THRES HOLD PLAN 1:100
0
5
10
25
50m
PHAS E II ROOF PLAN 1:1000
PHAS E II SEP 15, 2021 - NOV 9, 2021
C
B
A
C
B
A
PHAS E II FLOOR PLAN
ELEVATOR FOR STAFF
ELEVATOR FOR AUDIENCE
OUTDOOR PERFORMING PLATFORM
0
1
2
5
10m
S EC TIONAL PERS PEC TIVE A-A 1:200
0
1
2
5
10m
S EC TIONAL PERS PEC TIVE B-B 1:200
HYDRAULIC DEVICE TO CONTROL THE MOVEMENT OF CEILING AND WALL
0
1
2
5
10m
CHANGABLE PLATFORM SETTINGS TO SUIT DIFFERENT MODES OF THEATRE
S EC TIONAL PERS PEC TIVE C -C 1:200
A Monica Chen Work
Special Thanks To All my family, especially Grandma Victoria, for all the help and advice Victoria Greta, Lillian and Zoe for late-night discussions Lynn, Keith, Calvin, Karl, Shuo, Tammy & JC for support and chit-chats Karl for wonderful film recommendations Patrick & Edward for inspiration on moon Owen for inspiration on tides
DEFINITION REFERENCES [1] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/LUNATIC [2] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/LUNACY [3] HTTPS://WWW.OXFORDLEARNERSDICTIONARIES.COM/DEFINITION/ENGLISH/CLAUSTROPHOBIA [4] HTTPS://WWW.VERYWELLHEALTH.COM/THALASSOPHOBIA-5093770 [5] HTTPS://WWW.OXFORDLEARNERSDICTIONARIES.COM/DEFINITION/ENGLISH/DEPRESSION [6] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/DEPRESSION [7] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/DELIRIUM [8] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/MANIA [9] HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/SOLITUDE. HTTPS://WWW.MERRIAM-WEBSTER.COM/DICTIONARY/SOLITUDE
ARCHITECTURAL PRECEDENTS B O B A R D I , L I N A A N D E L I TO, E D S O N . T E AT RO O F I C I N A . O M A , TA I P E I P E R F O R M I N G A RT S C E N T R E . VA L L E , DA N I E L . WAT E R PAV I L L I O N . A N D O, TA DAO. C H I C H U A RT M U S E U M . CO R B U S I E R , L E . V I L L A L E L AC . S T U D I O L I B E S K I N D. J E W I S H M U S E U M . B I A D -Z X D A RC H I T E C T S . E N CO R E D U N H UA N G T H E AT E R .
VISUAL REFERENCES A N D E R S O N , ROY. A P I G E O N S AT O N A B R A N C H R E F L E C T I N G O N E X I S T E N C E . F I L M . 2 014 . A N G E LO P O U LO S , T H E O. E T E R N I T Y A N D A DAY. F I L M . 19 9 8 . A N G E LO P O U LO S , T H E O. U LYS S E S ' G A Z E . F I L M . 19 95 . A R B U S , D I A N E , A L B I N O S WO R D S WA L LOW E R . G E L AT I N S I LV E R P R I N T O N PA P E R . 1970 . A R B U S , D I A N E , H E A D L E S S M A N , N E W YO R K C I T Y. G E L AT I N S I LV E R P R I N T. 19 62 . A RTAU D, A N TO N I N . A RTAU D 1937 A P O C A LY P S E : L E T T E R S F RO M I R E L A N D BY A N TO N I N A RTAU D. T R A N S L AT E D A N D E D I T E D BY S T E P H E N B A R B E R . LO N D O N : I N F I N I T Y L A N D P R E S S . 2 018 . C L E A R , C I A R Á N . WA I T I N G F O R T H E C U R R AC H S . O I L O N B OA R D. 19 9 6 . CO N S TA B L E , J O H N . C LO U D S T U DY. O I L O N PA P E R L A I D O N PA N E L . 18 2 2 . D U L AC , G E R M A I N E . T H E S E A S H E L L A N D T H E C L E RGY M A N . F I L M . 19 2 8 . J O D O ROW S K Y, A L E J A N D RO. S A N TA S A N G R E . F I L M .19 8 9. Y U R A S E K , J O H N . F O RT D E N I S O N – M U D DAWA H N Y U H , S Y D N E Y H A R B O U R N AT I O N A L PA R K . U. D.
THEORY REFERENCES VA N D E R KO L K , B E S S E L . T H E B O DY K E E P S T H E S CO R E : B R A I N , M I N D, A N D B O DY I N T H E H E A L I N G O F T R AU M A . LO N D O N : P E N G U I N P U B L I S H I N G G RO U P. R E P R I N T E D I T I O N , 2 015 . A RTAU D, A N TO N I N . T H E T H E AT E R A N D I T S D O U B L E . N E W YO R K : G ROV E P R E S S . 19 9 4 C R A S H CO U R S E , "A N TO N I N A RTAU D A N D T H E T H E AT E R O F C RU E LT Y: C R A S H CO U R S E T H E AT E R # 43 ." F I L M E D 2 019. V I D E O, 11: 26 . H T T P S : // W W W.YO U T U B E .CO M / WATC H ? V= D K _V Z U LY H C W