La MaMa To Present Object Collective Performance Based On Legendary Films Of Éric Rohmer

The legendary East Village experimental theater club La MaMa will present Object Collection’s Look Out Sh^thead Episode 3, a multidisciplinary work based on Éric Rohmer’s 1980 film cycle Comédies and Proverbes, with the permission of his estate. Object Collection is an experimental Brooklyn-based ensemble founded in 2004 by writer/director Kara Feely and composer/musician Travis Just. They have performed six original operas internationally. The world premiere, presented in association with Collapsable Giraffe, runs from June 17th-26th at La MaMa’s Downstairs Theater.

Directed by Feely with music composition by Just, Look Out Sh^thead, investigates romance, love, loneliness and desire with film, projections, performers, written text, sounds performed by on-stage musicians and furniture to create “a kaleidoscope of 21st century disembodied romance.” The series’ first two episodes were streamed last year during the pandemic as part of the Exponential Festival. The third episode is performed by Elena Russo Arman, Francesco Gagliardi, Alenka Kraigher, Catrin Lloyd-Bollard, Alessandro Magania, Daniel Allen Nelson, Nicolás Noreña, Alessandra Novaga, James Oldham, Fulya Peker, and Timothy Scott. It features musicians John Hastings (processed piano) and Travis Just (woodwinds and computer) with scenic design by Peiyi Wong, lighting by Kate McGee, and film and video by David Pym. Episode 3 was partially filmed by the actors in their homes in Istanbul, Ljubljana, London, Milan, Toronto, Pittsburgh, and New York City.

I spoke with Feely about how it feels for the Object Collection to return to live performance. We also talked about the process of creating this piece and how the first two episodes have been received.

Risa Sarachan: How did the idea for Look out Sh^thead come about? Can you tell me a bit about Eric Rohmer’s influence on its creation?

Kara Feely: We have always been huge fans of Rohmer’s work and the Comédies et Proverbes film cycle in particular- we love the way the films prioritize language, how the characters engross themselves in conversation and introspection, and endeavor to articulate inarticulate-able things. The film cycle also feels like it is in dialogue with itself, and one film picks up the conversation where the other left off- so we thought it would be interesting to try to put the various characters from the films in dialogue with one another. This is how we began a lengthy process of translation, pooling material, and eventually recombining language on a granular level. The aura of Rohmer and the emphasis on reflection through language is still within it, but the piece has taken many turns along the way.

Sarachan: How did you handle the process of filming different actors across the world for this episode?

Feely: We became pretty good at coordinating inter-continental Zoom rehearsals and video shoots through prior episodes, which continued with this episode. One scene was shot with actors in Milan and Toronto, another with actors in Ljubljana, Istanbul, London, and New York. We had a communal zoom set up so the actors could hear each other, then each actor filmed themselves with their phone. It took some coordinating on the actors’ part to understand where to look when addressing their scene partners, but we were able to get the footage to feel like they were all in the same room together. I’m amazed by how quickly we were all able to adapt, for better or worse, to interacting in two dimensions during the pandemic. This piece is very much a product of that; the challenge of trying to make ourselves understood, and share an intimate connection, becomes further complicated by a diversity of mediums, remoteness and presence.

Sarachan: How were the first two episodes received?

Feely: I think very well, although, with an entirely remote audience, it was a very different experience for us, who are so used to working in front of live audiences. I think people enjoyed seeing how our typically claustrophobic and highly energetic work adapted to the screen. It forced us to work outside of our comfort zone, and as a result, this piece has a very different feel to it than some of our more recent works- it has a slower pace and allows much more space to breathe.

Sarachan: How does it feel to be performing for live audiences once again?

Feely: It feels amazing, and we are so happy to be back in the theater again and working within that community setting. The work has been our lifeline for the past two years, but working remotely is ultimately not fulfilling for artists working in performance. Being able to rehearse in-person starting in January just felt so good, I think, for everyone involved.

Sarachan: Was Object Collection able to work throughout the pandemic?

Feely: Yes, we participated in various streaming programs and festivals early on, making small performances in our bedrooms with whatever was at hand. Look Out Sh^thead was originally going to be performed live in January 2021, and when the pandemic hit, we were sitting on mounds of material and ideas for a project that was now being indefinitely postponed. We decided to continue working on it in a remote fashion which is how we started making filmed episodes developed and rehearsed over zoom. What was supposed to be a theatrical response to existing films became a filmed response to films. One nice development was the ability to work with a group of actors scattered all over the globe since we were no longer limited to using actors who could be present for a rehearsal process in New York City. When it came time to develop the live performance, we were able to continue to involve these international collaborators through additional filmed segments, and, in one instance, bring one of them over to join us on stage.

Sarachan: Have you performed at La MaMa before? What does this historic space mean to you?

Feely: This is our fourth production at La MaMa and we are so happy to be a part of their community of artists. As a hub of downtown experimentalism, we feel right at home there. I’ve always so much appreciated the cosmopolitanism of the space, which hosts such a variety of international groups as well, since so many of our collaborators come from abroad. It’s gratifying to see La MaMa continue to thrive in New York City, and we’re proud to be a part of that vitality.

This interview has been edited and condensed for clarity.

Tickets for Object Collection’s Look Out Sh^thead can be purchased here.