AMCPeformativelecture,IslandofSolund,Norwaycuratorsvacation:

Anne-MarieCreamer[COMPANYNAME][Companyaddress]

GridofAMC’sNorwayIslandlecture

Duration Music&sound Visual Screendialogue/V.O. AMCsays:

30secs

Start:Music&voicewhichrepeatsandbuildstoacrescendo.Stops.

black Sandingstill,silent

1min Sounddissolvesto:Soundsofnature,mimickingoutside.Dusk.

Fadeup:Sequenceofanisland,inNorway.AMCisstandingmid-groundlookingthroughsomebinoculars

“Fadeup” Sandingstill,silent

30secs-1min

Sounddissolvesto:Interiorroomsounds,silence

Cutto:Woman(AMC)standingwithherbackturnedtothecamera.

“Weareonanisland,onahill,inanoldchildren’sschool,inthisroom.Together.Sheisherefortheeventofmeetingyou.“

Standingstill,silent

1min Sounddissolvesto:Silence/lowthreateningdronesounds,subtle.

Cutto:wideshot,samescene.

“Crossdissolveto:Sheisamaturewoman.Brunette.Smilingnervously,tryingabittoohard.HerenameisAnne-Marie.Dissolveandfadedown”.

“MynameisAnne-MarieCreamerandIhavecomeheretobywayofanintroduction”

Soundsdissolvesto:buildtension,musicbuilds.Suddencuttosilence.Pause:

“Wearefacedwiththetaskofmakingajourney.Imaginethisprecisemomentintimeinthepast.Fadedown”

“Comewithme”.(Beckoninggesture).

Music,atmost,windsinforest,effects.

ExtractsofAMCwalkingaboutforestnearMaloy.

“Fadeup”

“Itis20thMay2012.TheislandofMaloy,westernNorway.Dream.I’minaforestinMaloy.Iseemyselffromthebackwalkingbetweenthetrees.Therecirclesofbothlightandshadowaroundeachofmyfootsteps.IknowwitheachfootstepIcangofasterandfasterthaneverbefore,soofcourseIwanttospringforwardsandrun.ButItoldbyaveryveryoldman-theoldestmaninSognogFjordane–butImustpauseateachstep,lettingmyfootrestonthegroundforamomentifIwanttodevelopitsfullpowerandreach,beforetakingthenextstep.”

1min.

Wind,electronicwind,atmostsoundofstormapproachinginthedistance.

SilentextractsofmoonfilmedinRome.

“Fadeto”

“Itis22ndofNovember2012Rome.Iamontherooflate19thcenturybuildinginRome,theBritishSchoolatRome.I’mheretofilmthemoonbutthereisastormcoming.IthasbegunraininghardandIamtryingtocovercamerawithmyumbrellaandItrytopushmyweightdownonthetripodtostopitblowingover.ButIlookupandkeepthemooninframe.Oh,themoon!Itislarge,delicious,voluptuous.AlargecypresstreeinthecourtyardoftheBritishSchoolswaysbackandforthinthewind.–Suddenlylightningstrikessomewhereneartome.Ibecomefrightened.Whatisthisfor?I’mhereinRometomakeTreatmentforSix

2mins,silent5mins.

Music&sound,dialogue,Italian.Music&sound,dialogue,Italian.

SequenceofthismomentplayingsilentlyasIspeak:

Characters,anunrealizedfilmItalianwriterLuigiPirandello’swishedtomakeaboutafictionalized,ethicallyambivalent,portrayalofthecreativeprocessleadingtohisseminal1921play‘SixCharactersinSearchofanAuthor’–usingarecentlydiscoveredtextIadaptedPirandello’splansmakingafilmthatexplorestheimaginativepossibilitiesofhisabsentfilm.“November23rd,9am,TeatroValle,Rome.Iamstandinginatheatreboxbehindmycamera.Everyoneisready.SImonasitsinthetheatreboxopposite.Weareready!IneverdreamedthismomentwouldcomebutsinceIarrivedinRomethefateshaveshoneonme;foundationsandpeoplehaveopenedtheirdoorstomeandTeatroValle,theoldestworkingtheatreinRome,theplacewherePirandellopremieredhisinfamousplayin1921iscurrentlyunderapoliticaloccupation.Thisisgreatformethough.Theactors,managersandtechnicianswhonowrunthetheatrehavegivenmepermissiontofilmbecauselikemetheyLOVE‘SixCharactersinSearchofanAuthor’.–Silence…wearereadytostart.Suddenly,thereisloudwhisperingfromthetoptiersofthetheatre.SILENCIO!YellsSimona.Weareonout3rdtakeaseveryonetimeSimonarunsthroughthetheatre,screaming,asIhaveaskedhertodo,hersleepingfriendswakeup,thinkingthereisatragedy,“WhatSimona!Whathashappened,achildhasdied!Playextract:

Music&sound,dialogue,Italian.

Still1minextract.

SilenceMusic&sound,dialogue,English.

“OnSeptember14th2014shegavethefirstscreeningofTreatmentbeforeaninvitedaudienceattheDrawingRoomGalleryinLondon.She’shadtodointroduceitseveraltimesinceandthought:”“ThenonFebruary14ththisyear–“

“Therehastobeabetterwaytodothis”“WeareinBalham,SouthLondon,whereI’vebeeninvitedbyagroupofyoungartists.Agroupofpeoplearegatheredintheroom,waitingforTreatmenttobescreened.TheytalkamongstthemselvesquietlyandsomehavebeenwonderingwhereIam.Thedoorswingsopenandinwalksatallmustachioedmanwearingacoatandflatcap.Hestops,foldshisarms.Thecrowdfallsilent.Hesays:“Hello,thank-youforcomingherethisevening.MynameisAnne-MarieCreamer.”UsingmywordsfromtheeventattheDrawingRoomasascriptheclaimsheisme,andgoesontototelltheaudienceofthestrugglesAnne-Mariehadtomakethework.ThisistheworkFictionalIntroduction,ameta-prologuetomyfilmanddrawingonbothmyownandLuigiPirandello'sideasitheightensthelinebetweenauthor-actor-character.ItisApril2016,BasementgalleryatHotelElephant,BoroughLondonAsecondversionherefilmed,usingtheatremasksfromtheNationalTheatreinLondon.”Playextract:

Sheiscurrentlydevelopingafurtherversionsofthisworkwithateamofactors-a'swarmofAnne-Marie's'-allcompetitively,absurdlyinsistingtheyaretheauthorofTreatmentforSixCharacters.

3minsextract

Music&sound,dialogue,Italian.

“Fadeup”“Fadedown”

“IsisNovember24,2014NovlitrainstationSalento,southernItalyIamwaitingonanearlyemptytrainplatformforsomeonetotellmewhat’sgoingon.Alittlefurtherdowntwoofmyhelpersaretalkingintenselytosometrainkeepers,IvanaandAntonio,plusothers.Thesearethepeoplewhousedtoliveinthelittlehousesbytherailwaytracksandwhobeforeeachtrainwouldrushoutandraisethebarrierstoppingcarsandpeoplecrossingthetrack.Forthelast20yearsthegovernmenthasbeenslowly,veryslowly,modernizingthetrainsystemandovertimemostofthekeepershavelosttheirrole.12ofthemnowhavethejoboftwopeopleatthestationascompensation.Manyhavelosttheirhomes.Theyareangry!TheyhavetoldmeabouttheirangerandIhaveusedtheirwordstomakeapoeticdeclarationtobeaddressedpubliclytothepassingtrains:anabsurd,temporarymonumenttothepassingoftheirroleintoobsolescence.IpictureaproudangrychorusoftrainkeepersIwillfilmthismorning-butonlythreehaveturnedup.Itisonethingtotellmetheirthoughtsofcoffeeanothertostatethempublicly.Exceptthesefew–sotheconversation,withIvanahelpingus,istakingplace.‘Wouldyou?Please!’.Anothercuratorispacingincircleswhilstonthemobilephone.We-me,twocameramenandonetranslatorarewaiting.Wewait.Iwalkup-toAntonioandpointingupwardstothepublicaddresssystemIsuggestanidea.AmischievoussmileslowlyspreadsacrossAntonio’sface.Henods.”Playextract:

Exract2/3mins,approx.

Music&sound,dialogue,Italian.

“Fadeup”“Fadedown”

“ItisDecember12th2014.TheCountryside,Salento,SouthernItaly.IaskedonethingbeforeIleftSalento.Therewere3womenleftdoingtheroleofTrainKeeperintheregion.Theirworkendslaterthismonth.Afterthatpointtherewillnomoretrainkeeperslivinginlittlestonehousesbythesideoftherailwaytrack.Imakearequesttothem:inthefinaltwohoursofyourjobWillyouwritemealetteraboutwhatyousee.Justdescribewhatyouseeandhear.Ionlyhaveonerule:yourlettermustbegin“DearAnne-Marie”.”Playextract:

Extract2mins.

Music&sound,singing

“ItisearlySeptember2005,TransylvaniaIamonaslowmoving,smellytrainandhavebeentravellingfor14hours.Ihaven’tbeenabletosleep.IamfascinatedandalittlescaredasIwatchedfieldsofgraingetsmaller,horsesappearingdraggingwoodencarriages,andfarmerspitchingstrawintolittlemoundswithPitchforks.IknowwhereIamtravellingbutIalsofeelvertiginous,lostintime.Thetrainispullingintothelargeststationwehaveseenforhours,oldcityofBrasov.IturntoTaniaandaskherwhythisisfamiliar.–“Don’tyouremember?Thisisthetownwhere130childrenweresaidtohavebeenledbythePiedPiperofHamlin.ThelegendsaysthecavehebroughtthemtoopenedupjustoutsideBrasov.”-Wearechangingtrainsandhavesometimetospare.WehavecoffeeandabalconyoverlookingtheTownSquare.Slowlywehearmusic,thesoundoffeetstamping,singing.Children’ssinging.Welookdowntoseethesquareisfullofdancingchildren…”PlayExtract.

Silence.

“Thefilmyoujustseenhappenedbychance,sometimesafeatureofmywork,andhasbeenshownin6countries.Ihaveoftenhadtotellthestoryofmyencounterwiththedancingchildren,somuchsoithasbecomeamoviethatplaceinsidemyhead.Butonetoolatetofilm.”

Extract4mins.

Music&sound

“ItisOctober9TH2011DiepenheimeasternHolland.Iamheretopremieraprologuetomydancingchildrenfilm.Beinginterestedinmaking‘cinemabyothermeans’,thatiscinemawithoutusingtraditionalmeans,IhavetriedtomakeafilmofthattriptoTransylvania.”PlayExtract.“Itisasilentmovie.Twofilmsatonce,onewrappedaroundanother.”

30seconds

Silence.

silencesequenceofAMCstandingoutsideabuilding,waitingtoenter.

Playextract.

still

Still:

“Cutto”

“ItisJuly17th,2011.InTHISROOM,5yearsago.WearesittingunderthebigredChineselanternsoverthere.Weareplanning.Talking.Imagining.Dreaming.Weareconsideringadifferentwaywaymuseums,andthelocalonehere,couldreachouttoitspublic.Itcouldcometothembywayofapublication,anewspaperthatendsupontheirdoorstep.Wedoit!LarsSturedoesit!Eventuallyitreaches55,000doorsteps.We

Still:

“Cutto” callournewspaperKometildegiTidende.”

still

Still:

“Cutto”

ForthefirstissueIhadcreatedaDeathNoticethatdeclaredthatthebodyofanoldman,afictionalcreationofmine,hadbeenfounddeadinmysteriouscircumstancesneartotheJostedalsbreenGlacierinSognogFjordane.About110yearsoldIproposedhewastheoldestmanintheregionandthathehadbeenbornandlivedonMåløy.

3minsexract

“Cutto”

“ItisMay17th2012.Maloy.IamsittingonabalconywithMari,aheavilypregnantPriest.Sheistellingmeabouthergrandfather,abouttravelingbackfromBerganhavingcommittedtostudyandfeelingadistance,aboutthewar,aboutbeingawomaninMaloy.Thisisis6thoftheseconversations,theyarealltellingmeabouttheirmemoriesoftheoldestmaninSoghogFjordane,eachfictioningwithmetocreatewhatisintheendacollective,mosaic,portraitofaMåløy.Hereisthetrailerofthatwork.PlayExtract:TrailerofTheOldestManinSognogFjordane

3minsextractappox.

Cutto”“Fadedown”

“Wefinishwithakindofimpossiblereturn:WearebackintheforestneartoMaloy,wherewebegan.Sheisabouttomeettheoldman,theoldestmaninSognogFjordane.“Playextract:Livevoice-overversionofepiloguetoTheOldestManinSognogFjordane.

1minseq.

Soundmusic,becomingmoremetallic,thinner,fadestowind,soundsofbeating,driftingoff.Fadeto:soundsofaNorwegianisland.Cuttosilence.END

Sequence:awomanstandingwithherbacktothecamera.Veryslowlyitfadestowhite.

“Pause.“Sheisleavingnow.Sheisfading.Herskinisbecomingthin,itseemsalmosttransparent.Pause.Sheseesyounow,thisprecisemoment,fromthefuture.Shewillalwaysbethere.Fadedown.”END

Bows.Leaves.END