TRAVIS JUST
| Nationality: | n/a |
| Literary Agent: *: | n/a |
| Email: | n/a |
| Website: | n/a |
* If shown, click on the literary agent's name for full contact details and links to all the Playwrights they represent.
Plays by Travis Just
Geometry, The |
| 1st Produced: | 25 Mar 2010 | |||||
| Company: | Object Collection | |||||
| 1st Published: | - | ISBN/ASIN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | Musical, Physical Theater | - | Parts: | Male | 3 | Female | 3 |
| Parts Other: | - | |||||
| Notes: | - | |||||
| Synopsis: | The Geometry is an experimental chamber opera evoking the bio-technological sublime through video gaming rituals, soap opera death spectacles, paranormal houseplants, and an overabundance of sensorial stimulants. Performed within a compartmentalized structure of interlocking stages, the audience's perspective shifts and reconfigures along with the space. A first time collaboration between Object Collection co-founders Kara Feely and Travis Just and radical Irish composer Jennifer Walshe, the operatic score intertwines live electronics and field recordings with extended techniques for instruments and voice. Inspired by the practice of steganography, in which hidden messages and relationships are obscured within everyday incidents, The Geometry establishes unlikely connections through a dense matrix of activity. Four performers navigate a set that is part magician's apparatus, part paranormal laboratory in their search for a continual expansion of the senses. Drawing from an odd collection of experimental phenomena, from Donkey Kong walk through scenarios, perfect Pac-Man games and Schrodinger's Cat, to psychoacoustics, nanotechnology, death rituals, divination, and human-houseplant biocommunication, the performers find points of intersection between the natural, technological, and extra-sensorial worlds. The stage space is subdivided into four sectors that the performers can transform into private viewing compartments for the audience, shifting their perception from the complex to the minute. Throughout, a video monitor switches between a live camera recording the intricate activities of the musicians, to collected footage of the performers in their homes, preparing for the psycho-sensorial events of the performance. - nytheatre.com | |||||