The Lost, by film artist Reynold Reynolds, is based on found material. Reynolds discovered, remade and completed the film between 2011-2013.
Turbulent times during the rise of the Nazi regime put a halt to the original 1930s production. Told through the eyes of a young English writer who comes to Berlin, the film is based around an artist flat. The heart of this community of misfits is a cabaret stage, recreated in the Haus der Kulturen der Welt.
Excerpted (above) is a clip from the silent film, shot on 16mm.
The Lost (excerpt)
SHE MUST DIE
SHE MUST DIE is a classical-contemporary cabaret with 3M overhead projector.
Soprano Brittany Loewen’s “controlled and powerful voice”* propels feeling through sound; while the folk-pop duo Laura Dern steadies the brimming emotion with songs about disappearing and forever. Ary Marvray creates dreamy scenes with analog overhead projector. And a small ensemble of piano and cello reinforce the sonic terrain.
The arias, from the operas La Gioconda, Madama Butterfly, Otello, and Suor Angelica, lay the foundation for SHE MUST DIE, as at the end of each aria, the soprano dies, and dies again, over and over. The band Laura Dern, comprised of guitarist-vocalist Cydney Asher and vocalist Dylan Bandy, compliment Loewen’s powerful sound with a soft, vulnerable intertwining of voices and unsettling harmonies. SHE MUST DIE attempts to reconcile each death—each tawdry demise—with something overwhelming: an immersive internal landscape.
SHE MUST DIE was developed in reaction to the misogyny inherent in the plots of many operas. This production re-envisions the operatic death as a jumping-off point for a larger discussion about gendered experience. The work comments on body politics, romantic iconography, and moral necessity.
Director: Dylan Bandy Producer: Brittany Loewen Photos: Sara Benton
*Perform Ink Chicago
EXPOSURE BERLIN is a site-specific piece of contemporary musiktheater created for the Ehemaliges Stummfilmkino Delphi, a restored 1920s silent film cinema in Berlin.
EXPOSURE BERLIN references The Breasts of Tiresias by Apollinaire, minimalist opera, various works by David Lynch, and German Expressionist Film. It performed in October 2012.
Nooks and crannies of the Hebbel am Ufer Theater are transformed from unassuming utility spaces into intimate lounge areas, each with a phone. Singers are trapped in enclosed spaces, behind windows, in closets, awaiting the rush of calls between main-stage performances.
We are the desperate attempt to pull focus; we are the small symbiotic creature on the back of the institution. Singers and audience are both visible to passersby, but not to each other. It is voyeurism and spectacle. It is phone sex with live songs. This piece played and won the HAU 100º Festival in 2011.
STRANGERS IN A SONG was first created as a part of the culture experiment Mica Moca.
It premiered September 3rd, 2011 in Berlin and then toured internationally to Norwich, Stettin, and Zürich. This work is a live audio installation that explores intimacy and voyeurism in the technological age.
At a vault-making factory in the Wedding district of Berlin, a gallery of objects invites participation: phone numbers and a list of songs. Singers wait in factory rooms not visible to the caller. The phone rings: "I'd like the number two." A concert by telephone.