FoolishPeople

The Stamp Collective presents Moralgorithm

I was lucky enough to get an invitation by Ellie of the Stamp Collective to experience their new work Moralgorithm at Theatre Delicatessen.

It was a wonderful piece of immersive theatre, that was a pleasure to experience, performed with innocence and wonder by a very talented collective. I throughly enjoyed myself and I encourage you to try and see it before it closes. 

Showcasing their wordsmith, wizardry and immersive magic StampCollective reveal their latest “real life imaginary playground”: Moragorithm HiC (Human Interest Company) .

This interactive performance-game mixes theatre and live art. You find yourself as the newest recruit in a Lynchian corporate world - where the mundane meets the highly unusual. StampCollective are working with the three p’s - Play, Puns and Portmanteau to provoke your mind, jiggle your body and ignite your (non)senses. Past shows have been described as being like “...Twin Peaks meets the Crystal Maze. I approve!”.

This subversive, surreal and silly experience challenges your perceptions about authority, consumerism and what you really hold valuable. During a time when digital interaction reigns, this type of live art game offers you something different, a bespoke human experience. No two shows are ever the same; each performance emerges as unique as the group of audience inside it. You are in the driving seat, step inside the strategy and influence the world of Moralgorithm HiC. Your response has power over the performance. Providing equal opportunity for you to observe or play. The ball is truly in your court.

StampCollective, associate artists of Theatre Delicatessen, are proud to host the final production at Marylebone Gardens before the resident artists move out and move on, and the venue is redeveloped for new purposes. Book tickets and receive your Moralgorithm HiC induction pack. The game has already started, follow the action #MoralgorithmHiC. Places are limited, book now to avoid disappointment. 

I'm looking forward to see what this young collective do next.

Salome by Theatre Lab Company

SALOME, SALOME DANCE FOR ME! DON'T LOOK AT HER, SOMETHING TERRIBLE MAY HAPPEN!

FoolishPeople highly recommends a visit to Theatre Lab Company's new show: a site specific theatrical live musical performance of SALOME set in the 1930's where the atmosphere of the space is very similar to that of the “decadent palace” of Oscar Wilde’s play.

Decandence, sensuality, beauty, envy, the words of a prophet, a mother's jealousy, a young girl's overwhelming desire, a stepfather's lustful demand and a dance that turns the MOON RED.

SALOME

December 9th - 16th

Doors open at: 7.30pm

Show starts at : 8pm

Duration of the show: 55 min

Entrance: £12 including festive canapes

Location: Old Cholmeley Boy's Club. 68 Boleyn rd. (Dalston Kingsland Overground). LONDON, N16 8JG

Directed by Anastasia Revi & Lighting design by Yiannis Katsaris

The space has limited capacity, so only a small number of guests can be accommodated. If you would like to live this very different experience please email [email protected] as your name needs be on the guest list and the show is already sold out on a number of dates.

Photography by Yiannis Katsaris

Do not be Alarmed by the Contents of the Index

'Symbols of Society'  - Glenn Fitzpatrick

 

THE AGE OF EMOTIONAL PROHIBITION HAS BEGUN

London 2040, The Museum of Virulent Experience houses the entire banned Index of emotions, experiences and desires in an age where Emotional Prohibition has begun.

The most virulent forms of experience and knowledge are banned, policed by the Ministry of Information. Time and access to human emotion and experience is strictly limited within a monthly data plan, monitored under the Human Emotional Experience Act of 2032.

The Museum exists for your safety, security and sanity.

You have been granted free access to the Index outside of your monthly data plan. Do not be alarmed by the contents of the Index- all is secure.

 

Image by Richard Webb

FoolishPeople is proud to announce their collaboration with the following artists in the creation of the Index for 'Virulent Experience':

'Symbols of Society'  - Glenn Fitzpatrick

'The Happiness Index' - Richard Webb

'The Forbidden Archive' - Mariana Moranduzzo 

'The Quinn Papers' - Craig Slee 

'Aphasia Oceana' - Danny Warner

'Peep Show' - Flora Bradwell 

'Dream Machine' - James Elphick 

'Blake'  - Ikipr 

'The Muma Letters' - Dakota Crane 

'A Savage Desire to Undo What is Done' - Jase Daniels

'It’s experienced through possession' - Eric Souther 

'I Believe It Is A Signal' & 'Birth' - Jason Bernagozzi

'Security of the Panopticon' - Mary Yacoob

'If You Like' & 'Spanish Radio Debates Make Me Sick' - Simon Coates

'Detention Grounds' - Kristina Cranfield

'Anonymous' - Andreas Templin

'A Savage Desire to Undo What is Done' - Jase Daniels

 

FoolishPeople & Conway Hall present

VIRULENT EXPERIENCE

Written and directed by John Harrigan

6th August – 31st August 2012 Conway Hall

Buy tickets

Virulent Experience is a three hour immersive event, lasting from 7:30pm until 10:30pm with two entry points.

There are three cycles of the performance that audience members are able to stay as long as they like within.

 

Poster design by Simon Allin

Ministry Memoranda

 

 

JUST WHAT IS GOING ON IN THE DEPTHS OF THE MUSEUM? #MINISTRYOFINFORMATION

The Goblin King's 'Theatre of Trolls' - Friday 4th May

FoolishPeople recommends a visit to a fantasy themed night of mischief and revelry at The Goblin King's 'Theatre of Trolls' this Friday hosted by our friends at Guerrilla Zoo.

You can peruse through photography from last year's event 'The Goblin King's Court of DisOrder' on Guerrilla Zoo's Flickr account.

Dearest Lords & Ladies of Misrule...

You are hereby invited by The Goblin King to his Annual Masquerade Ball!

The Goblin King's
'Theatre of Trolls'
2nd Annual Masquerade Ball 2012

Friday 4th May 2012 
8.30pm - 3.30am
The Old Vic Tunnels
Leake Street Entrance London SE1 7NN

This evening sees the World Turn'd Upside Down; Where Fools become Princes for one night. Where Goblins, Nymphs, Ogres, Bad Faeries and other Creatures of the Night, beyond the realm of human vision are free to make merry, tempt, seduce, carry out acts of foolishness and wantoness.

-featuring-

 MUSIC | PERFORMANCE | ART
 THE GOBLIN MARKET | CINEMA
IMMERSIVE THEATRE  | TWISTED CIRQUE

BUY TICKETS ONLINE 
CALL BOX OFFICE ON 0844 871 7628

FOR TICKETS AND LINE-UP VISIT
WWW.GOBLIN-KING.CO.UK
WWW.OLDVICTUNNELS.COM

The Dream Is Now Free to Haunt the World

FoolishPeople would like to take this opportunity to thank all Dreamers who attended the Society of Vandals Guild on Friday 3rd February. Your participation has been noted by the Vandals and their leader Brother Arlec.

We are delighted to present a selection of photographs from the evening, courtesy of Strange Factories' Director of Photography Yiannis Katsaris. For more photographs please keep an eye on the Strange Factories Facebook page - feel free to tag yourselves unless you'd prefer to keep your masked identities under wraps...

It seemed only right to share our official Strange Factories wrap party with those who have supported us on this project so far and we very much enjoyed meeting so many of you in the flesh (and also in mask!). We were also incredibly pleased to receive such positive feedback on all that was revealed...

FoolishPeople would also like to thank Sally Rushbrook, Guignol's Band and Kilto Take for their inspired musical performances. Finally, huge thanks to Rena and all at Jamboree for their enthusiasm and assistance in making the evening possible.

We have much to share with you in the coming months. Radiogram IX, released under the light of tonight's Full Moon, shall be the final installment in the Strange Factories Prologue series. The next phase of Radiograms, beginning very soon, shall mark a turning point in the Strange Factories creation story thus far. To make sure you don't miss out please subscribe here. We look forward to revealing the next stage...

Strange Factories - artefACTS unveiled - The Society of Vandals - 7:30pm - 3/2/12

 

Today the Guilds artefACTS are unveiled.

Kilto Take
http://www.kiltotake.com
Three musical catalysts collide by chance, like some audio-laboratory experiment gone wrong. After the smoke has cleared, what's left is a volatile compound of commanding guitars and regimented percussion.

Sally Rushbrook
Divine Jazz and blues infused with a deep fascination with poetry and storytelling.

Guignol's Band
Blackly humorous songs about death cults and decline for electric guitar and soprano saxophone, members of The Devil May Cares, the Young Lovers, various improv groups, et cetera.

STRANGE FACTORIES
Exclusive expedition featurette and Society of Vandals footage and immersive research presentation.

The unveiling of the Strange Factories debut trailer. A thank you to the supporters of FoolishPeople for helping us to successfully fund the 'Strange Factories' expedition.

A few tickets remain to this unique 'Strange Factories' event, you can purchase entry for two people into the Society of Vandals guild by purchasing Waystation I via the Weaponized online store.

This will also give you access to exclusive content and future special events, alongside access to the 'Strange Factories' Radiograms. The online transmedia narrative which supports the 2012 release of FoolishPeople's first feature film 'Strange Factories'.

Muybridge's Revolver @ The Horse Hospital

 
On October 17th 1874, Kingston born photographer Eadweard Muybridge shot dead the drama critic of The San Francisco Post, Harry Larkyns, with a single bullet from a Smith and Wesson No 2 revolver. A jury, convinced by lawyers under the patronage of railroad magnate Leland Stanford, acquitted him of “justifiable homicide” and Muybridge went on to photograph and publish his outstanding 1887 work “Animal Locomotion” in eleven volumes and 781 plates measuring 19 1/8 inches by 24 3/8, composed from over 20,000 gelatin dry plate individual glass negatives, printed as paper collotype photographs of men, women, children, horses, and other animals shot sequentially for the first time in stop motion and full photographic resolution.

Commissioned and organized by the University of Pennsylvania the work comprised: Vols. 1–2 Males (nude), Vols. 3–4 Females (nude), Vol. 5 Males (pelvic cloth), Vol 6 Females & Children (semi-nude and transparent drapery), Vol. 7 Males & Females (draped) & Miscellaneous Subjects, Vol 8 Abnormal Movements Males & Females (nude and semi-nude), Vol. 9 Horses, Vol. 10 Domestic Animals and Vol. 11 Wild Animals & Birds.

Muybridge’s plates were to be sold as full sets by subscription, in individual folders of an “Author’s Edition” of 20, and were also offered in a 100 - plate “Subscription” set where the buyer could choose plates from a prospectus. Copper collotype plates for the work were prepared by the Photo -Gravure Co. of New York City and the “Elephant Folio” books were printed by J.B. Lippincott of Philadelphia. Complete copies were sold for $500 unbound and $550 in leather. The attenuated version, bound in “full Russia leather” was priced at $100 plus + $1 per additional plate.

Only 47 complete sets of Animal Locomotion were ever completed on commission. Housed today in museums and libraries around the world, exhibited in galleries such as London’s Tate Britain, the San Francisco Museum of Modern Art, London’s Victoria & Albert, they have been described as ‘the eighth wonder of the world” for their analysis of human and animal movement in all its wonder and eccentricities.

“Muybridge’s Revolver” is a rare opportunity to re-examine Eadweard Muybridge’s “Animal Locomotion” in an “Author’s Edition” accompanied by a selection of projected animations taken from original plates, culminating on the 2nd October with a live performance finale installation to Muybridge’s moving images from sound archeologist Aleksander Kolkowski of the Recording Angels, accompanied by Marek Pytel’s film “Eadweard Muybridge” premiered in 2010 at the British Library. Also rare screenings of Thom Andersen’s “Eadweard Muybridge Zoopraxographer” (1974) on the 27th September, and a discussion evening on the 14th with renowned Muybridge and pre cinema chronophotographic specialist Stephen Herbert.

A selection of original “Animal Locomotion” plates on exhibition will be offered, framed, for purchase and a further 60 original plates, also framed, for sale by prospectus.

Private View: Friday 9^th September 7:30pm

Exhibition: Saturday 10^th September – Sunday 2^nd October, Mon – Sat, 12 – 6pm

14^th Sept 7pm FREE: Stephen Herbert talk

27^th Sept 7:30pm FREE: Screening of Thom Andersen’s “Eadweard Muybridge Zoopraxographer”

2^nd Oct (time TBC) £7.50: Live performance from sound archeologist Aleksander Kolkowski accompanied by Marek Pytel’s film “Eadweard Muybridge”

 

 

Artaud: The Plague Itself

In April 1933, Anais Nin was invited to attend a lecture at the Sorbonne by Antonin Artaud on the subject of "The Theatre of the Plague":

Is he trying to remind us that it was during the Plague that so many marvelous works of art and theatre came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began...His face was contorted with anguish...His eyes dilated, his muscles became cramped, his fingers stretched...He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then one by one, they began to leave, noisily, talking, protesting. They banged the door as they left...But Artaud went on, until the last gasp...Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. Artaud and I walked out in a fine mist....He was hurt, wounded, baffled by the jeering. He spat out his anger. "They always want to hear about; they want to hear an objective conference on "The Theatre and the Plague", and I want to give them the experience itself. The plague itself, so they will be terrified, and awaken. I want to awaken them. They do not realise they are dead. Their death is total, like deafness, blindness. This is agony I portrayed. Mine, yes and everyone who is alive...I feel sometimes that I am not writing, but describing the struggles with writing, the struggles of birth."

-Anais Nin, Journals, Volume 1, (1966).

The Cinema of The Future: Coppola Presents...

 

“Why do movies have to be ‘canned’? Everything is canned" - Francis Ford Coppola

It seems that FoolishPeople are not alone in our quest for a new form of cinematic experience. Francis Ford Coppola's Twixt shall debut this September at the Toronto International Film Festival. Twixt shall herald a new, non-linear film making experience which incorporates live music and narration, as well as 2D and 3D sequences. Using shuffling software, the film's scenes can be completely randomised with performance artist and electronic musician Dan Deacon altering the film's live aspect to suit. In a sense, this "remixing" technique will mean that every audience sees a different edit and therefore a unique version of the film. Coppola plans to begin his 30 city tour of the film later this year. Discussing his cinematic experiment he claims:

"Cinema is so young! How dare anyone think all it has got up its sleeve is more 3D where the ticket prices go up? Cinema is a baby. Of course we’re going to see wonderful innovations come; there will be many".

With less than 2 weeks before FP begin filming our own Film Fantastique Strange Factories in Prague, we could not agree more. Cinema is little more than a hundred years old. So much has been achieved in terms of artistic and technological innovation within that time but also so little. Filmmakers must continue to push the boundaries of their art in all directions, breaking staid notions of what cinema is. We must ask instead, what can cinema be? In the case of Strange Factories we shall be offering a living feature film in every sense of the word. Our audiences shall be able to move freely within the phantasmagoric world of the fictions they have created. This is the future of cinema.

We have much work to do.