Andrew Schneider YOUARENOWHERE
PHOTO: MARIA BARANOVA
Oct 18-20, 2018
We begin by acknowledging this land is the ancestral home of the Suquamish, Duwamish, Muckleshoot, and many other Indigenous peoples recorded and unrecorded, who have been the custodians of this land since time immemorial. As guests and — in many of our cases — as settlers on this land, we extend our deepest gratitude and respect to their ancestors and elders past, present, and future.
Andrew Schneider: YOUARENOWHERE October 18-20, 2018 On the Boards, Seattle Running time: 54 min
Created by Andrew Schneider In collaboration with Peter Musante, Alessandra Calabi, Bobby McElver, and with Marisa Blankier, Sonia Baidya, Tim McEvoy, Daniel Jackson, Karl Allen, and Christine Shallenberg Technical Director: Rich Bresnahan III Assistant Technical Manager: Alex Harding Sound Technician: Ben Marx Technicians: Jessica Jones, Adam Whitley, Jake Lindsay, Jeremias Lentini, and Bryan Wilson Wardrobe: Karn Junkinsmith andrewjs.com
YOUARENOWHERE was commissioned by Mass Live Arts and Performance Space New York with support from the Jerome Foundation, an award from the National Endowment for the Arts – Art Works and was made possible in part by New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Development residency provided by Mass Live Arts, an AIRspace residency at Abrons Arts Center, and a space residency at The Bushwick Starr. YOUARENOWHERE premiered in a co-presentation by Performance Space New York and The Invisible Dog Art Center as part of Performance Space New York’s 2015 COIL Festival, January 8-17, 2015. Additional support for YOUARENOWHERE at On the Boards is provided by the Western States Arts Federation (WESTAF).
Filming and photography during the performance is not permitted.
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Hello Art Lover, Thanks for being here at On the Boards tonight. I know, in these darkening fall days – literally and figuratively – it takes some effort to leave the house. What makes tonight and all the nights we spend here in the audience special is that we are bound together by powerful experiences. I’ve said it before – maybe even in one of these programs. Art inspires original thought. Original thought moves us forward, as humans, as a society. Maybe it’s the only thing that can. That’s why I’m here. The art I’ve seen and loved and hated and experienced here is now part of the person that I am. That person is a thinker, and a fighter, and a registered voter. I would never ever ever ever ever ever jeopardize On the Boards’ nonprofit status with partisan politics. I just want to say, I am proud of our work and our community. I dig the way we champion new and sometimes outrageous ideas. I like the way we make room for experimentation, and sometimes failure. OtB is where the weirdos, the radicals — the ones who push us to see ourselves more fully — come to show us new versions of reality (that are perhaps more real than we realize). I really need this weekend and next, and this space to be together. This particular group of artists, and these shows might just vaporize every cynical bone in our bodies, and leave us with new possibilities and hope for what is next. You look fantastic this evening, and you smell great, too. Thanks for being the best audience in town. Don’t forget to vote. Seriously, don’t. Go get ‘em, tigers,
Betsey Brock Executive Director
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THE 18/19 SEASON: IMAGE, OBJECT, & GESTURE
In recent years a growing number of multidisciplinary artists have employed performative strategies in their work to interrogate a variety of relevant social and political topics. Contemporary performance has become a working method, a critical framework, and a strategy, rather than simply a medium or discipline. Additionally, many choreographers, performance art, and theater-makers working today consider their practice in a similar vein to visual conceptual artists—performative, collaborative, and multidisciplinary. This shift away from performance as medium or discipline comes at the very moment when many artists and curators are embracing and being fully embraced by technology and visual advertising branding structures. Digital tools are a way to create physical, experiential stories. The creative class is no longer a small elite group of individuals and a handful of alternative art spaces. From largescale advertising firms, to fashion houses and DIY design wearable ventures, to music videos and VR animations or video games, technological devices have blurred and disrupted the boundaries between pop culture, advertising, and art. The distinction between categories in art are not straightforward anymore. The 2018-19 season begins by asking a series of questions: How is meaning made? What actions or gestures create meaning? How are artistic movements made? How do artistic gestures inspire meaning in this world? A season is a shift in climate, or a change in the amount of daylight, or the marking of a point in time which the earth is in relationship to the sun. A season as a collection of artists and ideas presented over the course of a year in a particular setting. The idea of Image, Object, & Gesture is taken up this season as a way to think about the blurring and hybrid distinctions being made in contemporary performance today.
Rachel Cook Artistic Director
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Image The first photograph ever taken, a heliograph by Joseph NicĂŠphore NiĂŠpce (1826), is on permanent display at the Harry Ransom Center at the University of Texas in a state of the art preservation case. Because of its complicated structure and unique viewing properties, this case has been specially designed in an oxygen-free environment to maximize the viewing of the image, the conservation, and security of the object. The first photograph is a view from a window looking out onto other rooftops in Paris. Exposed on the surface of a pewter plate that is a unique positive image of which no duplicates can be made.
attributed not only within art, but also in news, politics, or pop culture. An image is a reflection, a device, and a thing. A photograph is an image, but can a performance be an image? There are physically still moments within a performance, does that constitute an image? Images have the ability to make you slow down, to meditate on them, and sometimes see things differently. Images are hybrid creatures, they have the ability to be multiple things simultaneously. They are hard to pinpoint, as well as hard to pin down. Performance is ephemeral by nature, and yet something about it continues to resonate as an image inside your head.
In our current image-saturated culture and speculative society, images are endowed with multiple layers of meaning. The image acts as a starting point for thinking about broader questions concerning the way meaning gets
How we consume images today primarily happens through screens, digital animations, or cropped images. These images create and construct narratives, which have the ability to 5
shift our preconceived notions about people, society, or cultural events. The connection between the image, text, and objects are ideas that are central in many artist’s work. How these ideas create a sense of the performance and how the physical body represents an image of the character are all crucial to how various contemporary artistic practices operate.
the image, not as a fixed entity, but as a theoretical notion exploring how information is distributed and experienced, how viewpoints are framed, and how intimate moments get shared. It is within these various contemporary artistic practices, that the status of the image is being contested in unique and provocative ways.
Through exploring what constitutes these categories—image, object, and gesture—the evolution cycle of digital images is revealed. There is a generation of artists that not only inherited the legacy of Conceptual art and postmodern understanding of society, but also experienced the explosion and transformation of culture through digital technology. Their work engages with ideas about the hybridization of
R.C.
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Andrew Schneider: YOUARENOWHERE & AFTER Andrew Schneider’s performances push theater to the edge of its logical limits, into new realms that defy categorized experience. These live works combine hallucinatory techniques and push the language of theater into new dimensions. Schneider is an inventor with a graduate degree from NYU’s Interactive Telecommunications Program. His thesis project was a series of five wearable devices that control the on-stage media. Of his current work, Schneider says, “I want [the audience] to see themselves see. To perceive their own perceptions. I want them to realize that they perhaps don’t know what’s going on. I want their sense of reality to be legitimately cracked.”
means to be alive in the world today. Exploring our contemporary life and the relationship we have to technology and other humans, Schneider’s two works, YOUARENOWHERE and AFTER sit back to back as chapters one and two. Schneider talks about these two works as both seemingly simple and inevitably complex because "trying to boil it down what the basic human experience is, ends up being the most complex, mind-bending thing in the world. There is not a universal. I explored my own identity in YOUARENOWHERE. AFTER then expands this exploration to shared consciousness. The next one will expand that notion even further.” YOUARENOWHERE is a rapidfire existential meditation. Using a lecture-style format to dissect subjects ranging from quantum mechanics
Schneider, along with his creative collaborators, has created two parts of an existential trilogy about what it
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and parallel universes to missed connections and AA recovery steps, Schneider transforms the physical performance space and warps linear time to short-circuit preconceived notions of individual perspective and what it means to be here now. Schneider posits, "what happens in the minds of all truly happens" By creating time distortion, YOUARENOWHERE causes the audience to acknowledge the movement of time, something Schneider continues to develop in his artistic practice. "I try to use time dilation as a blueprint for staging and metabolism. But I always want to be five steps ahead of the audience” he said.
can we have you experience rather than watch, how can we plug this experience into your brain? ” Through the use of various theatrical devices— digital effects and pulsating sensory extremes—there emerges a poignant, shared consciousness about perceiving where we are, how we got here, and what comes AFTER. By evoking emotions through highly crafted moments rather than a direct narrative, Schneider questions how the rapid change in technology has affected how we as the audience digest information and process sensations both in a designated performance space and throughout our daily lives. What is memorable? What guides us? What reminds us of ourselves in a world of excess and constant transformation?
AFTER is a mind-bending performance examination of what constitutes a single life and the endless possible outcomes at the precise moment of death. Collaborators Alicia ayo Ohs, Alessandra Calabi, and Bobby McElver join Schneider to continue their trademark exploration of hyperprecise live theatrical experiences. AFTER combines intense light and sound effects with a physical performance that seamlessly integrates a rapid-fire flow of text blending pathos and humor with intelligence and vulnerability. The images created evoke questioning of what will occur in our own experiences with the unknown and our end. Schneider asks “how
— Rachel Cook, Artistic Director, & Ellen McGivern, Curatorial Intern and MFA '19 Candidate in Arts Leadership, Seattle University
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About the artists Andrew Schneider is a Brooklynbased performer, writer, and interactive-electronics artist creating original works for theater, video, and installation since 2003. Andrew’s original and collaborative performance work in NYC includes AFTER (2018); YOUARENOWHERE (2015 OBIE award, 2016 Drama Desk nom.); DANCE/FIELD (2014); TIDAL (2013); WOW+FLUTTER (2010). He was a company member of The Wooster Group from 2007-2014. More at andrewjs.com
torsi’s The People To Come and Blue Man Group. Frequent collaborator of bluemouth inc., Trusty Sidekick Theater Co., Spring Street Social Society and a founding member of Fixed Agency. His work has also been presented by The Brick, The Kraine, Galapagos and The Chocolate Factory's THROW series. MFA: Brooklyn College’s Performance and Interactive Media Arts program. petermusante.com Sonia Baidya is the lighting director at The Wexner Center for the Arts, and a Lighting Designer inside and outside of live theatre. She is fascinated with the essence of light when combined with architecture, audio elements, color and other unconventional methods. Recent work includes: Andrew Schneider’s AFTER, Ann Hamilton and the SITI Company’s theatre is a blank page, Michael Laurence’s Krapp, 39, and New York Fashion Week runways and showrooms for Rag-N-Bone, Donna Karan Home, and John Varvatos.
Bobby McElver is a sound designer and composer for theater, dance, and film. He also designs interactive audio-visual technology for bands and live events. Company member of The Wooster Group 2011-2016. The Wooster Group: THE ROOM, EARLY SHAKER SPIRITUALS, CRY, TROJANS! (TROILUS & CRESSIDA), EARLY PLAYS, VIEUX CARRÉ, and HAMLET. Theater and Dance: Faye Driscoll, Andrew Schneider, NYC Players, Half Straddle, Young Jean Lee, Palissimo, Michou Szabo, Erin Markey. Film: Every Secret Thing (Tribeca Film Festival 2014). Nominated for 2015 Bessie for Outstanding Music Composition/Sound Design. More at bobbymcelver.com
Tim McEvoy is a Production Manager and Technical Director based in Western Massachusetts. He has worked for several years at The Massachusetts Museum of Contemporary Art, (MASS MoCA) in the Performing Arts department, bringing new and repertory work to the stage. He currently serves as Technical Director for Mount Holyoke College’s Dance Department. Most recently, Tim is thrilled to have joined Andrew Schneider’s newest project NERVOUS/SYSTEM as Production Manager.
Peter Musante creates interdisciplinary performances with a diverse group of artists. As collaborator/performer with Andrew Schneider: FIELD and YOUARENOWHERE, AFTER, and the upcoming NERVOUS/ SYSTEM. As Director: the.humanest and Archipelago. Performer: Martha Clarke’s Angel Reapers, a canary 9
PHOTO: MARIA BARANOVA
Andrew Schneider: AFTER Oct 25-27
“Hallucinatory. Psychotropic. Miraculous.” — New York Times “Jaw-dropping.” — The Stranger
Don’t miss part II of Andrew Schneider's existential triology. AFTER is a mind-bending performance examining what constitutes a single life and the endless possible outcomes at the precise moment of death. Melding stunning artistry with technical wizardry, AFTER streches the language of theatre into new dimensions. Special 2-Show Package to both YOUARENOWHERE & AFTER: Get tickets to both shows for just $45 8 pm performances Oct 25, 26, and 27 3 pm performance (sliding scale tickets) Oct 27 (feat. post-show Coffee 'n Conversation hosted by Washington Ensemble Theatre) ontheboards.org/performances/andrew-schneider-after 10
Raise your glass and lend a cheer, OtB’s 39th birthday is almost here! Celebrate the NEXT 39 years of art and artists at OtB on Sunday, October 28 at 6 pm! Featuring dinner by Sea Creatures (Bateau, Bar Melusine, The Whale Wins, Walrus & Carpenter); organizational forecasting by Gail Fairfield, OtB’s astrologer of 39 years; and party favors and origin stories from the past 4 decades. Tickets are $150 and $300 Ticket includes cocktails, dinner and wine, entertainment, and more This is a 21+ event ontheboards.org/special-events/ otb-39th-birthday
Jeffry Mitchell. Untitled Happy Birthday (Oh Tea Bee) [detail], 2018. 36”x14” Watercolor and colored pencil on paper. (View the full drawing at the event! It could be yours!)
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Okwui Okpokwasili: Poor People’s TV Room Dec 6-9 Igbo-Nigerian American artist, performer, choreographer, writer, and 2018 MacArthur Award recipient Okwui Okpokwasili presents a riveting narrative where brown women contend with the meaning of their bodies in relation to each other. Exploring the Women’s War of 1929 (a resistance movement against British colonial powers) and the 2014 Boko Haram kidnappings of over 300 girls and the subsequent Bring Back Our Girls movement, Poor People's TV Room is a potent reflection on the effects the erasure of women’s histories has on contemporary societies today. ontheboards.org/performances/ okwui-okpokwasili-poor-peoplestv-room 11
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THANK YOU
We’re grateful for the generous support of the following organizations
KREIELSHEIMER REMAINDER FOUNDATION
THE NORCLIFFE FOUNDATION
NESHOLM FAMILY FOUNDATION
TOMLINSON LINEN SERVICE
WYMAN YOUTH TRUST
GARNEAUNICON FOUNDATION
IN KIND & MEDIA SPONSORS DAVE HOLT
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Founded by artists in 1978, On the Boards invests in leading contemporary performing artists near and far, and connects them to a diverse range of communities interested in forward-thinking art and ideas. We believe if we are successful in our work that we can grow our field, enrich peoples’ lives, and contribute to civic and global dialogues. We value: artistic risks while being fiscally responsible; leadership in our field and the multiple communities we serve to strategically advance the role contemporary artists play in society; racial and social equity, and accountability, to ensure our organization includes multiple viewpoints; provocative art as a vehicle to connect people of diverse backgrounds and perspectives; our local creative community as we engage with international artists and peers; and professional and transparent management. Betsey Brock, Executive Director Rachel Cook, Artistic Director
BOARD Ruth Lockwood, Board President Tyler Engle, Past President Davora Lindner, Vice President John Robinson, Treasurer Michaela Hutfles, Secretary Tom Israel, Member at Large Norie Sato, Member at Large
Rich Bresnahan, Technical Director Sara Ann Davidson, Operations Manager and Office Witch Jenny Gerber, Finance Manager Zachary Gray, Development Intern Clare Hatlo, Associate Producer Alexandra Harding, Assistant Technical Manager Kim Lusk, Bookkeeper Ellen McGivern, Curatorial Intern Pamala Mijatov, Director of Audience Services Kiera O'Brien, Communications Associate Eze-Basil Oluo, House Manager Beth Raas-Bergquist, Director of Development Erica Bower Reich, Patron Relations Specialist Charles Smith, Director of Program Management
Kristen Becker, John Behnke, Kim Brillhart, Maryika Byskiniewicz, Jeanie Chunn, Florangela Davila, Caroline Dodge, Jeffrey FracĂŠ, Rodney Hines, John Hoedemaker, Chiyo Ishikawa, Tina LaPadula, Mari London, Lance Neely, Emily Tanner-McLean, Kate Murphy, Mary Ann Peters, Spafford Robbins, Jimmy Rogers, Ginny Ruffner, Robert Stumberger, Annette Toutonghi, Josef Vascovitz, Bill Way
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COMING SOON OCT 25–27 ANDREW SCHNEIDER: AFTER DEC 6–9 OKWUI OKPOKWASILI: POOR PEOPLE’S TV ROOM JAN 25–26 MARGINAL CONSORT MORE AT ONTHEBOARDS.ORG
Behnke Center for Contemporary Performance 100 West Roy St ontheboards.org | 206-217-9886