JUST LIKE IN THE MOVIES. ACT 1 - PSYCHO
CINETHEATRICAL STAGING
1 HOUR, IN ENGLISH
camera - Edgaras Kordiukovas (AVELE)
aktoriai/most talented actors - MARIJUS MAŽŪNAS Ir RIČARDAS MYKA ir MILDA ALSIENĖ
režisūra, prodiusavimas, aktorių paruošimas, metodologija, konceptas, kvapas, spalva, nuotaika,dramaturgija, ir visi kiti išoriniai ir vidiniai organai/ directing producing, scenography, video - script, costume, methodology. smell, color inner & outer organs - GINTARE MINELGAITE (Lietuva, UK)
kompozitorius/composer - STEINAR YGGESETH ( Norvegija)
make up - no Mess make up
coordinator/assistant - Skaiste Sim
sound mastering - Pranas Gudaitis & Tadas Zaranka
tech coordinator - Edgaras Miliauskas
ABOUT ‘JUST LIKE IN THE MOVIES’
‘LIKE IN THE MOVIES’ IS AN ONGOING GINTARE'S MINELGAITE'S PERFORMATIVE ART PROJECT, WHICH TRANSPORTS FILM INTO AN UNEXPECTED AESTHETIC AND PERCEPTUAL DOMAIN. IT IS A PROJECT ABOUT FILM DEDICATED TO PEOPLE WHO LIKE FILM: PEOPLE, WHO HAVE BEEN AFFECTED BY THE RELENTLESS INFORMATION FLUX OF THE CON- TEMPORARY NEOLIBERAL STRUCTURES, THUS, FOR ONE REASON OR ANOTHER, KNOW LITTLE ABOUT FILM, YET, ARE STILL ATTRACTED TO GREAT THINGS AND TEND TO RE-APPROPRIATE CLASSIC AND PRESENT APPROACHES.
‘LIKE IN THE MOVIES’ IS REFRESHING AND ORIGINAL SERIES OF CINETHEATRICAL PERFORMATIVE STAGINGS, WHICH EXPLORE THE WORLD OF FILM FROM A MYRIAD OF ANGLES WITH WIT AND IMAGINATION. ‘LIKE IN THE MOVIES’ OFFER A UNIQUE APPROACH TO THE RELATIONSHIP BETWEEN THE TWO ART FORMS - A FUNCTION OF “FILMICALITY” IN STAGINGS AND PERFORMATIVE REPRESENTATIONS OF CINEMA, WHICH WOULD PROVOKE YOUNGER GENERATIONS TO DEVELOP AN INTER- EST IN CINEMA CULTURE, HISTORY AND THE ORIGINS OF THE MOVING IMAGE. ‘LIKE IN THE MOVIES’ CREATE SETTINGS, WHICH RE-IMMERSE AUDIENCES IN CINEMATIC CONDITIONS THROUGH PER- FORMANCE. THIS PROJECT IS IDIOSYNCRATIC, INTELLECTUAL, AND INFORMED. IT SINCERELY EXPLORES AND PAYS GREAT DETAIL TO CINEMA - IT IS EMBEDDED IN CINEMATIC THOUGHT AND PROCESS. DIRECTOR GINTARE MINELGAITE, COMPOSER SYEINER YGESETH & THE TEAM OF ACTORS, THROUGH PROCESS, ASSEMBLE AN AMALGAMATION OF METICULOUSLY AND CAREFULLY COLLECTED ELEMENTS FROM A MULTITUDE OF ARTS OF ALL FORMS INTO THE CINETHEATRI- CAL SETTING, CONSEQUENTLY ESTABLISHING AN EXPANSIVE AND OPEN-ENDED SPACE, WHERE MOVING IMAGE, SOUND, DESIGN AND THEATE PERFORM AS ONE. ‘LIKE IN THE MOVIES’ PRESENT NEW PER- SPECTIVES ON ALL MEDIA - IT BROADENS THE ESTABLISHED ARTISTIC DEMOGRAPHICS.
APIE ‘JUST LIKE IN THE MOVIES’
'Just Like in the movies' - besivystantis performatyvaus meno projektas apie filmus žmonėms, mėgstantiems kiną ir tiems, kurie yra veikiami šiandieninės informacijos srautų. 'Like in the movies' - novatoriška ir originali kino-teatro performatyvių pastatymų serija, kuri tiria filmų pasaulį iš įvairių perspektyvų, pasitelkiant vaizduote ir protu. 'Like in the movies' - siūlo išskirtinį požiūrį į santykį tarp dviejų meno formų : kinematografijos ir inscenizacijos. Performatyvi reprezentacija provokuoja jaunąją kartą domėtis kino kultūra, istorija,ištakomis, tačiau pastatymo stilistika siekiama patenkinti ir kino žinovą.
ABOUT ‘ACT 1. PSYCHO’
ACT 1. THREE INCREDIBLE LITHUANIAN ACTORS MARIJUS MAŽŪNAS, RIČARDAS MYKA IR MILDA ALSIENĖ WILL BE ACQUITTING A PSYCHOPATH CHARACTER THROUGH THE GENRE OF FILM NOI. FILM NOIR (LITERALLY ‘BLACK FILM OR CINEMA’) WAS COINED BY FRENCH FILM CRITICS (FIRST BY NINO FRANK IN 1946) WHO NOTICED THE TREND OF HOW ‘DARK’, DOWNBEAT AND BLACK LOOK AND THEMES BECAME POPULAR IN AMERICAN CRIME AND DETEC- TIVE FILMS RELEASED IN FRANCE TO THEATRES FOLLOWING THE SECOND WORLD WAR, SUCH AS THE MALTESE FALCON (1941), MUR- DER, MY SWEET (1944), DOUBLE INDEMNITY (1944), THE WOMAN IN THE WINDOW (1944), AND LAURA (1944). A WIDE RANGE OF FILMS REFLECTED THE RESULTANT TENSIONS AND INSECURITIES OF THE TIME PERIOD: FEAR, MISTRUST, BLEAKNESS, LOSS OF INNOCENCE, DE- SPAIR AND PARANOIA ARE READILY EVIDENT IN NOIR, REFLECTING THE ‘CHILLY’ COLD WAR PERIOD WHEN THE THREAT OF NUCLEAR ANNIHILATION WAS EVER-PRESENT. THE CRIMINAL, VIOLENT, MISOG- YNISTIC, HARD-BOILED, OR GREEDY PERSPECTIVES OF ANTI-HEROES IN FILM NOIR WERE A METAPHORIC SYMPTOM OF SOCIETIES’ EVILS, WITH A STRONG UNDERCURRENT OF MORAL CONFLICT, PURPOSE- LESSNESS AND SENSE OF INJUSTICE. THERE WERE RARELY HAPPY OR OPTIMISTIC ENDINGS IN NOIRS, VERY MUCH LIKE IN MODERN WORLD.STRICTLY SPEAKING, FILM NOIR IS NOT A GENRE, BUT RATHER THE MOOD-STYLE, POINT-OF-VIEW, OR A TONE OF A FILM. THE PRIMARY MOOD OF CLASSIC FILM NOIR WAS A MELANCHOLY, ALIENATION, BLEAKNESS, DISILLUSIONMENT, DISENCHANTMENT, PESSIMISM, AMBI- GUITY, MORAL CORRUPTION, EVIL, GUILT, DESPERATION AND PARA- NOIA. AS I BELIEVE, AT THIS MOMENT IN TIME, WE ARE DEEPLY IN THIS STATE OF MOOD.
ACT 1 WILL BE A TWO HOUR PERFORMANCE - STAGING COMPILED OF MANY CARE FULLY CHOSEN SCENES FROM VAST MAJORITY FILM NOIR FORM MANY DECADES CLASSIC FILM NOIR, 40S NOIRS
