“This is a rare opportunity to build a whole new type of game—it taking place on an actual train, with other passengers on board, adds a lot to the dynamics of an escape room experience,” says InsideOut’s Ágnes Kaszás. “To my knowledge, it is the longest-running game ever made, and we are very excited to be able to design it in the spirit of the new hit movie. It’s a dream come true, both for us and the players!”
“It’s easy to maintain emotional distance from ‘characters in a play,’ especially when those characters are barely characters at all, more suggestion than articulation. It is much more difficult to maintain that same distance with someone from the audience who could have been you, or is you, appearing onstage unexpectedly, doing their best without any preparation. This immediacy, the charm of the unexpected performer, generates a flash of internal empathy that is stoked from glow to flame, and suddenly, a show that had previously felt somewhat feeling-averse is abruptly infused with something approaching joy.”
Very much wishing I could be at Proximity Festival 2017. But, as I can’t, I’m enjoying watching interviews and highlights from this and past festivals instead.
Lately, I’ve been unsure whether this blog should be public or private, professional or personal.
Personal blogging tends to leave me feeling exposed and vulnerable; professional (or heavily ‘public face’ curated at least) leaves me constrained.
Even more recently, however, I’ve been reminded (by, for example, reading Barbara Browning’s The Gift) that it’s that intersection and interplay and in-between space that I actually really enjoy. That I need to remember it’s not one or the other – it’s never one or the other, even if you kid yourself it is. So I should toughen up and let it be. It means I might disclose too much occasionally and perhaps feel a little embarrassed. It means my ‘public face’ potentially becomes less and less consistent or, if not that, certainly richer and more complex. Which, of course, has both advantages and disadvantages depending on the audience and the moment. Continue reading
Really interesting, persuasive article tracing the trajectory of Cooper-as-the-audience throughout the series so far.
1990s Cooper was an active force in his own story. He helped us navigate his surroundings, and see them with humor and wonder. He claimed, perhaps wrongly, but still convincingly, that there was order somewhere in the chaos. It’s natural for us to want to return to a mode where he can actively participate in his own story, where he’s helping solve its mysteries, instead of acting as its biggest conundrum. But even with his humanity lost and his agency gone, he still represents us onscreen. Even when he’s free-floating through a haze of glass boxes and stop-motion nightmares, we’re still with him. We’re still all Agent Cooper, navigating the mystery, and waiting to see where this is all going.
A highlight of the 2016 Festival of Live Art:
Blurring documentary with fantastical fiction, Vanitas is a smartphone procedural thriller told through the secret language of flowers.
The app: iTunes
The Facebook: Event page
‘What happens when you remove the typical social contract of the theatre seat? We invited the audience to walk in our oppressive world and they wanted to change it. The audience’s acts of touching and speaking, grabbing and yelling were both revelatory and deeply disturbing. Were they assholes or heroes?’