Audio Tour: Lali Chetwynd
[mp3 format, 2min 19s]
NARRATOR:. Lali Chetwynd will be appearing on this stage on April the 19th. A noisy cast of participants will move in and around an elaborate hand-made set.
LALI CHETWYND: My performance for the Triennial will be a puppet show that’s based on The Fall of Man. And it will go through the Expulsion from Eden, and the Loss of Innocence, and it will somehow be a huge transition of time, to suddenly get to Karl Marx’s Division of Labour from Das Kapital.
NARRATOR: For the Biblical sections, Lali Chetwynd appropriates the re-telling of the story in Milton’s Paradise Lost.
LALI CHETWYND: He elaborated on the most amazing myth in the Bible, and taking on such huge subject matter and putting it into a puppet show, seemed perfect to me.
So there will be sort of a rambling set that will be like a model of Eden. And it will be in keeping with all the other things I’ve done; it will be a very carnivalesque manner and it will be very rowdy and fun and alive and there will be puppeteers who will be people in costume who will operate little figures.
And really the most important thing that I’ve been working with for a while now is the inclusion of the audience; so there are the performers who are sort of the key operators that are meant to be a spectacle, but then there’s this other layer where the audience is meant to be part of the actual performance.
NARRATOR: What exactly the role of the audience will be Lali isn’t saying, but come along on April 19th and you’ll find out…
On April the 19th there will this really Romantic, black and white Xeroxed palm-tree set. So it will echo the architecture of theatre, but it will be an exploded form, with theatre in the round,
[fade in slowly with squeaks from Cousin Itt performance]
but it should in some way be more playful than traditional theatre.
NARRATOR: Those garbled sounds are from an earlier performance by Chetwynd, in which she appropriated a character from American television and film. To hear about it, press the green PLAY button.
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