Liminal presents Fassbinder

Liminal presents Rainer Werner Fassbinder's BLOOD ON THE CAT'S NECK (AKA MARILYN MONROE CONTRE LES VAMPIRES).

One weekend only:

Thursday, December 8 at 7:30
Friday, December 9 at 7:30 & 9:30
Saturday, December 10 at 7:30 & 9:30
Sunday, December 11 at 5:30 & 7:30

at Disjecta Gallery  
8371 N Interstate Ave, Portland OR

Buy tickets now.
 

Celebrate the holiday season this December with Liminal's immersive opera update of Fassbinder's 1972 black comedy for the stage.  

This December 8-11, Liminal fights back with Marilyn Monroe contre les vampires, an operatic multimedia installation performance of a 1972 darkly comic anti-establishment play written by influential enfant terrible filmmaker Rainer Werner Fassbinder. Itself influenced by Arthur Schnitzler's La Ronde, sci-fi comics, and copious alcohol use, Fassbinder's Marilyn Monroe contre les vampires is a hilarious and unflinching stab at all classes of society.

In this (literally) biting social satire, Phoebe Zeitgeist is a singing alien sent to Earth to report back an eyewitness account of human democracy in action. She encounters characters from all areas of life who educate her well on what it means to be human. However, Phoebe has a problem: she learns our words, but she still can't figure US out. Marilyn Monroe drives a fever pitch, culminating in the sexiest version of Hegel's Science of Logic ever set to music. Beer and wine will be served.

Liminal combines performance art, video and opera into a unique, immersive experience. A hybrid of theatre and gallery installation, of live performance and video, there is no central stage and audiences are invited to walk around the 360-degree videoscape and performance (seating is provided for those needing it). The viewer encounters both live and recorded performers: a ghostly ensemble of video actors projected onto screens throughout the space, interacting with each other, with Phoebe and with the audience to create a unique video-opera experience. 

Also: Vampires.

TRIGGER WARNINGS: substance abuse, holiday blues, sexual harassment, semiotics, societal complacency, firearms, fetishes, structuralism, choking, privileged classes behaving badly, blood sucking, suicide, Hegelian dialectics.

Featuring Fassbinder zines by Going Places

featuring Carissa Burkett (soprano) as Phoebe Zeitgeist 

with Linda Austin, Todd Van Voris, Carla Grant, Wayne Haythorn, Eleanor Johnson, Don Kern, Alex Reagan, Danielle Ross, and introducing Evan Corcoran as Donald J. Trump

written by Rainer Werner Fassbinder
translated by Denis Calandra
direction by John Berendzen
developed by John Berendzen and the ensemble
costume by Manot VonRocket and Faerin Millington
original music by John Berendzen
video and tech by Rory Breshears, Ben Purdy, Sharon Porter, Jared Lee

Liminal presents [OFFENDING THE AUDIENCE]

For Immediate Release
Portland, Oregon USA

     [ OFFENDING THE AUDIENCE]

Get Tickets Here.

November 6-22   7:30pm Friday, Saturday, Sunday; also 2:30pm Sunday
At Action/Adventure, 1050 SE Clinton, Portland, OregonUSA 
$10-25 sliding scale     $8 student-artist-industry     mature content

In 1965, Peter Handke began work on the seminal work of anti-theatre, Offending the Audience: a stripped-down, genre-defying and hilarious verbal happening that shook the establishment of the day. 50 years later, Portland performance group Liminal creates an original multidisciplinary adaptation, reworking Handke's avant-garde classic for the modern age of pan-surveillance and fractured media self-reflections.

In a fierce new adaptation that takes Handke's experiments into the 21st century, Seattle-based polymath Misha Neininger and John Berendzen orchestrate a complex musical, visual and conceptual score out of the original bare-bones text: sonically, rhythmic sung-spoken textual textures interact with an electronic soundscape; surveillance technology confronts the audience fumbling with messy feedback loops in the dark.

This Gesamtkunstwerk will be performed and in German and English. There may or may not be subtitles. The ghosts of Edward Snowden, Rosa Parks and Samuel Beckett may perform acts of defiance and nude interpretive dances. WARNING: They really, really dance.

Will you be offended? Answers Handke, "You don't have to feel offended. You were warned in advance." Offending is one way to relate, adds Berendzen. "No one is offended by anything in the theatre anymore. Either way that's not the point. We want to democratize the space between us and the audience, a level playing field. We want you to feel involved."  

Neininger came all the way from Berlin to find new audiences: “There is a real buzz from swarms of cyborg insects in the Northwest. People are getting pissed off. I watched people swatting drones with flip-flops. But who knows, the audience may turn out to be a dismal failure. For the audience to be a smashing success it needs to balance the fear of surveillance with the desire to be seen.”

In the end you may ask yourself: How do you look back at whoever is looking at you? 

written and directed by Misha Neininger and John Berendzen
media and surveillance art by Misha Neininger
sound design and music direction by John Berendzen 
electronic smart costumes by Jenny Ampersand
performed by Misha Neininger with returning founding member Amanda Boekelheide and Starr Ahrens, Evan Corcoran,  Carla Grant and Alex Reagan.  

Offending the Audience is the third installment in this year's series on Peter Handke, following the premiere of Radioplay I (Hand2Mouth, June 2015) and The Innerworld of the Outerworld of the Innerworld (Imago Soiree, July 2015)"Liminal's been waiting twenty years to interpret this piece. Finally, we think we're ready." says Berendzen. Adds Neininger:

Sie werden kein Schauspiel sehen.
  There will be no play.
Ihre Schaulust wird nicht befriedigt werden.
   Everything will be open and transparent.

About Peter Handke
Best known for his screenwriting collaborations with Wim Wenders (Wings of Desire, Wrong Move), Austrian Peter Handke was a major voice among the anti-theatre experiments of the latter 20th century, along with Stein, Beckett, Fassbinder, Foreman and other theatrical subversives. Simultaneously linguistic clown and ontological terrorist, he eviscerates language itself in order to expose its comic failings, giddily exploding false theatricalities in order to reveal beneath the pure presence of the raw, exhilarating and liberating liveness of the performance event. This series marks Liminal's third plunge into the depths of Handke, following 1998's Handke Salmagundi (an amalgam of early writings) and The Hour We Knew Nothing Of Each Other (2000), a completely silent play.

About Liminal
Liminal is a nonprofit Portland-based network of theatre, performing, and media artists. Liminal is known both for its uniquely staged plays (as in 2013's OUR TOWN), and also for its large-scale live walk-through performance installations (as in 2012's Liminal presents Gertrude Stein). Liminal was founded in Portland in 1997 and has produced nineteen original full-scale projects. Liminal has received numerous Portland Critics Circle (Drammy) awards, including Best Original Production (2000, 2003, and 2005); Best Choreography (2003); Best Sound Design and Best Music Direction (2000 and 2003).

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