The ProjectionsTo their live audience, the actors use theater to “project" their identities, their nightmares of the past and dreams of the future. Literal projections manifest these same dynamics: actors interact with projections of their own characters (see photo); affected and inspired by projections of historical footage of the violence in 2003, they create their performances; they even interpret projections of their own actions and acts as well as the reactions of publics.
The Interventions and the Mix of Documentary and Fiction:
Is it documentary or fiction to film an actor dialoguing with a stranger in the street, or with their own projection? The simple act of filming actors in a documentary style blurs the line between documentary and fiction. The film will run with this through artistic interventions designed and executed with the actors: performances inserted in public life and documented by multiple cameras, some directed by the actors themselves.
Is it documentary or fiction to film an actor dialoguing with a stranger in the street, or with their own projection? The simple act of filming actors in a documentary style blurs the line between documentary and fiction. The film will run with this through artistic interventions designed and executed with the actors: performances inserted in public life and documented by multiple cameras, some directed by the actors themselves.
Movement is the visual and poetical glue. Movement means a truck traveling from mountains to jungle, a body throwing itself into action onstage or in the street. It means social movements that pushed Evo to power in 2003 and that now criticize him from his own base, in implies an ever-changing identity, a constant rearranging of elements in social space, politics moved by young indigenous actors struggling to communicate their experiences and their vision.
The Workshops and Discussions with Audiences:
Emotional Memory Workshops occur in two communities the tour goes through, and show how social movements have affected each place. After presenting the play, the actors use the workshops and open discussions to reflect with audience members about the Gas Wars, other social movements, the performance they just witnessed, and where to go from here.
Emotional Memory Workshops occur in two communities the tour goes through, and show how social movements have affected each place. After presenting the play, the actors use the workshops and open discussions to reflect with audience members about the Gas Wars, other social movements, the performance they just witnessed, and where to go from here.
The Animation:The animations show the collective imagination of the social conflicts and individual imaginations of the relationship between the actors and their publics. Several animations will make the sociopolitical background more accessible to the international public.
The Play:
The play appears fleetingly through flashes of gestures and dialogue that punctuate the emotional and thematic rhythm of the film. The documentary focus is less on the content of the play and more on the conditions and relations that inspire/incite its creation.
Sound Design:
The sound is marked by three elements: the mass media of radio and TV, local music, and the thoughts of the actors. The music is the troupe’s drums and Bolivian music, especially innovative hybrids of Andean music. The internal thoughts enter as voiceover, or as thoughts spoken directly to the camera while animations explore ideas described by the actor.
The sound is marked by three elements: the mass media of radio and TV, local music, and the thoughts of the actors. The music is the troupe’s drums and Bolivian music, especially innovative hybrids of Andean music. The internal thoughts enter as voiceover, or as thoughts spoken directly to the camera while animations explore ideas described by the actor.
