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Objects for the Emancipated Consumer Page


Objects for the Emancipated Consumer Performed in Portland, Seattle, and Vancouver, B.C., 2001

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Objects for the Emancipated Consumer Page


Objects for the Emancipated Consumer Performed in Portland, Seattle, and Vancouver, B.C., 2001

In 2001, Liminal premiered Objects for the Emancipated Consumer at the Seattle Fringe Festival and performed in Portland and in Vancouver, BC, at the DYNAMO Gallery in conjunction with Vancouver’s LIVE Biennial of Performance Art.

Objects for the Emancipated Consumer was an original 360-degree media performance that told a nonlinear story of six characters as they searched for answers to an ambiguous series of crimes. The performance was set in a fictitious international airport terminal where scenes from the performance ran simultaneously as audience members walked through the open space. Audiences participated in the outcome of events by scanning bar-coded objects at the performance’s central “duty-free” shop that triggered interactions between sound and visual media and actors. The performance gave audiences many direct opportunities to choose how to experience the performance. While it is not unusual to break down the division between performers and audiences, Objects for the Emancipated Consumerheightened the impact of the interaction by giving participants access to media and technology that changed and informed their environment.

Objects for the Emancipated Consumer received a 2001 Portland Theatre Critic’s Drammy Award for Best Original Work. Bryan Markovitz directed. Alex Reagan wrote the script in collaboration with the ensemble. John Berendzen created the original sound design. Christoph Saxe programmed. Bryan Markovitz produced slide and video. Cast members included Amanda Boekelheide, Jeff Marchant, Rich Southwick, Jennifer Olson, Georgia Luce and Trent Moore.

Objects was also featured on Oregon Public Broadcasting's show ArtBeat.

Link to the News Releases

PDF of the print program

Press
The Georgia Straight, Vancouver, BC, November 1, 2001
The Oregonian, April 22, 2001