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Manifestos for Theatre and Nation

Manifestos for Theatre and Nation Manifestos for Theatre and Nation Dan Venning rom December 2016 to January 2017, the Park Avenue Armory presented Julian Rosefeldt’s Manifesto, a thirteen-screen film installation exploring F avant-garde art manifestos. On loop, the screens played different ten-and-a- half-minute films of Cate Blanchett in thirteen different roles, demonstrating her chameleon-like acting ability. The films played simultaneously on large screens spaced throughout the vast Drill Hall, allowing viewers to move throughout the exhibit or to follow a guided path to see the installation in its entirety. The only illumination in the hall came from the screens, and although the sound was carefully engineered to ensure each manifesto was heard clearly only when standing directly in front of the appropriate screen, sound bled throughout the space, reminding the viewer that other manifestos were only steps away. Towards the end of each eleven-minute cycle, Blanchett’s characters speak in sync and in a single-pitched tone much louder than the rest of the video loop. This hap- pens simultaneously across all the screens, and for a moment, the manifestos overlap sonically. While Blanchett’s virtuoso acting abilities were certainly at the foreground of the installation, it is the unique way in which the exhibit brought to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Manifestos for Theatre and Nation

Venning, Dan
PAJ: A Journal of Performance and Art , Volume 43 (2): 10 – May 1, 2020
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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00527
Publisher site
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Abstract

Manifestos for Theatre and Nation Dan Venning rom December 2016 to January 2017, the Park Avenue Armory presented Julian Rosefeldt’s Manifesto, a thirteen-screen film installation exploring F avant-garde art manifestos. On loop, the screens played different ten-and-a- half-minute films of Cate Blanchett in thirteen different roles, demonstrating her chameleon-like acting ability. The films played simultaneously on large screens spaced throughout the vast Drill Hall, allowing viewers to move throughout the exhibit or to follow a guided path to see the installation in its entirety. The only illumination in the hall came from the screens, and although the sound was carefully engineered to ensure each manifesto was heard clearly only when standing directly in front of the appropriate screen, sound bled throughout the space, reminding the viewer that other manifestos were only steps away. Towards the end of each eleven-minute cycle, Blanchett’s characters speak in sync and in a single-pitched tone much louder than the rest of the video loop. This hap- pens simultaneously across all the screens, and for a moment, the manifestos overlap sonically. While Blanchett’s virtuoso acting abilities were certainly at the foreground of the installation, it is the unique way in which the exhibit brought to

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2020

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