I am happy to be part of Billy Mullaneys performance The Glory Machine at Frascati on 25 and 26 April 2023 at 20.00 hrs.
I will be speed editing 78 scenes into a trailer, live in front of the audience, which will give me approx. 80 seconds per scene to import, cut, shift and place.
The Glory Machine is a theatre performance consisting entirely and solely of filming and editing a promotional trailer for the performance itself. We observe the rapid-fire setup and recording of eighty microscenes, which are simultaneously edited and arranged into a short trailer video. Conceived as a virus, The Glory Machine follows social media logic by producing its own promotional material to reproduce itself indefinitely.
The piece was inspired by the ways in which we curate and perform idealized versions of ourselves online through social media platforms and beyond. By privileging the development of web presence over the performance itself, The Glory Machine archly proposes an all-in investment into “cultural capital”, responding to (by playing along with) the labor obligatorily required to generate online presence and social media outreach.
“It is a laborious madness and an impoverishing one, the madness of composing vast books, setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them.“
– Jorge Luis Borges, introduction to The Garden of Forking Paths
Created by Billy Mullaney performed by Esmée Begemann, Elliot Dehaspe, Jimmy Grima, Maja Grzeczka, Billy Mullaney, Ylva Rietman, Tom de Ronde and Julia Willms light and technique Niels Runderkamp artistic advice Andrea Božić and Konstantina Georgelou production Michael Scerbo management TILT Marieke van Bueren special thanks to Ruth Borg and Laura Boser
Produced by TILT & Veem House for Performance co-produced by Productiehuis Theater Rotterdam
Made possible by the financial contribution of NORMA fonds, Amsterdams Fonds voor de Kunst, Janivo Stichting, and Kickstart Cultuurfonds research made possible by DAS Theatre & Prins Bernhard Cultuurfonds/Horizon