Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.
Kelly Copper and Pavol Liska, the directors of Nature Theater of Oklahoma, have charged themselves with the task of transforming material that by most standards would be deemed insignificant—16 hours of phone conversations during which Kristin Worrall tells the story of her life—into an epic performance that will eventually consist of ten episodes spanning 24 hours. The show is Life & Times and this September, FIAF will present Episodes 4.5 & 5 as a part of its Crossing the Line festival. Each episode of Life & Times has its own distinct context, but these two in particular mark a shift in the show’s trajectory. For these episodes, Copper and Liska used older forms of animation and bookmaking to create performances without actors. Always diving into unknown forms and challenges, Copper and Liska’s dedication to seeing the potential for performance in everything intrigued me. So what happens when you take an ordinary life and, as Kelly said, “claim more spectacle [for it] than you have a right to?” Well, it’s the Life & Times experiment—an invitation to reconsider what and how we value. In the conversation that follows, we discuss the impact of scale, the art of rotoscopy, and dealing with the middle.
Lauren Bakst I was re-reading the interview that Young Jean Lee did with you guys for BOMB a few years ago, and one of the things that you spoke about, Kelly, was this question of, “When does something become theatre?” or, “What’s the least thing we can do and have it be a show?” . . . In working with animation, drawing, and bookmaking for Episodes 4.5 & 5, do you find that those questions are still relevant for you? Are you approaching these mediums as theatre?
Kelly Copper Yeah, we are approaching them as theatre but also thinking about where these are in relation to the other episodes, because we’re always thinking about performing them consecutively. For instance, episodes one through four are always actors on stage, dancing, singing, acting, but always actors in front of an audience. We’re thinking about what it needs to become at this point. The audience has built up this relationship with the actors, but we needed to make a turn here—as artists. And we also needed the audience to make a turn here.
[ Read More ]