Waiting for GODot© 2011
interpretation installation by architect Satish Krishnan + Marcella Leone
waiting for GODot © 2011 DIRECTED: SATISH KRISHNAN + MARCELLA LEONE
PROPOSAL:
An installation film that takes 'the metaphysical nature of The Waiting for GODot play by Samuel Beckett, where in short, it tries to establish the nature of the relationships.' the basic premise is to create a 10-15 mins rendition of the play, whereby the reflective condition of the current capitalism/ consumer soceity debate that is questioning the entire existence of man, reveals itself in script shared by the two characters, Satish and myself, and yet in visible different time zones. Two 'live' video feeds, Satish in Madras, India and I, in London, with backdrop as projections, the frames next to each other on the screen with close cuts and frames. ref: Requiem for a Dream 'Bed Scene.' to create a sense of unification and yet division of time and mind, reflective of our current circumstance of an insecure value system.
LOCATION:
MADRAS-beach: : mass construction, whilst the poor sleep on the beach at night and make for the rich people who stroll the river.
LONDON-river :the rubbish dump of goods, that wash away on the river bed, in low tide, as consequence of consumer nature.
POETIC CONCEPT FOR SCRIPT:
plastic notions through bubble pink coloured eyes
tainted realms of ill advised members of society
consumer-ist society in all its amputated parts
here lies an arbitrary to the realised state
to the cross pollination of aesthetic values to the rise of the falling star
consumerism entertainer of pleasures and accommodator of all sorts
enemy of the existence of primal instinct instinct: star of the show
affiliate to the exit of humanity the merger of the real state and false value
to be plunged into the depths of flaccid dreams and wet concoctions of fake sentiments
the last strands of unforsaken childhood sink into the stale waters of human value
the multiplication of colourful attributes of the soul to sing an abode to the false petals of time
REF: WAIITNG FOR GODOT/ AUTHOR SAMUEL BECKETT
Synopsis:
Absurdist/existential play about two characters(Vladimir + Estregon) who await for someone of the name Godot, who in fact never does arrive. a play of nothingness.
'.....the meaningless bleak setting of Samuel Beckett’s Waiting for Godot, whereby the narrative debates the existence of life in the protagonist’s wait. The very first words of the play are Estragon’s words ‘Nothing to be done’, repeated several times ‘There’s nothing we can do’. Estragon says ‘Nothing happens, nobody comes, nobody goes, it’s awful.’ Many times Estragon says ‘Lets go’, but Vladimir always reminds him that they can’t as they are ‘Waiting for Godot’. This inability to act renders Vladimir and Estragon unable to determine their own fates. Unable to act, they wait for someone or something to act upon them.
As Camus stated in The Myth of Sisyphus [p.117 1983]:
The actor taught us this: There is no frontier between be- ing and appearing. In accordance to Albert Camus coined term of the ‘Absurd’ in The Myth of Sisyphus this is a performance of The Theatre of the Absurd, where humanity holds the absolute absurdity of existence in its lack of intrinsic purpose. In a tale of comparison with Sisyphus, man is condemned to repeat forever the same meaningless task of pushing a boulder up a moun- tain, only to see it roll down again, and in the realization [08] of the absurd one asks himself, should one consider suicide?
[07]And Camus replies‘No. It requires revolt.’ Camus writes on ‘Absurd’ creation as a description of the world’s experi- ences, freed from hope and done ‘for nothing’. As Camus stated in the chapter, ephemeral creation in The Myth of
Sisiyphus [p.98 1983]:
If the world were clear, art would not exist...Thus, I ask of absurd creation what I required from thought---revolt, freedom, and diversity. And so, creation in an ephemeral manner can live in a mo- ment, reflective of human condition and phenomenology, which ‘fundamentally has no more importance than building for centuries’. And in Camus’s motto [cited in Davis p.179 1997]:
Oh my soul do not aspire to immortal life but ex haust the limits of the possible.'
-extract from MArch. Research Thesis. author/ marcella leone (in the plight of an architecture of ‘Nothingness’ post war cinema as a critique of existential architectural theory )
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