Are these Carlo’s drawings? No, they are actually taking from Leonardo Di Vinci’s notebooks (though they look VERY similar to some of the devices in BIRD MACHINE!) Di Vinci was one of the first scientists interested in a solving the mystery of flight. Somewhere around 1485, drew plans for a multitude of flight-related sketches, including ones of parachutes, bird wings, and a human-powered ornithopter (a wing-flapping device intended to fly). Our character ‘Leo’ is a little homage to him.

Though there is no evidence that historical Leo actually attempted to build such a device, we do attempt to replicate some of these plans on stage.  Carlo has done an incredible job–Leonardo would be proud! 

RENEE: We first started working on BIRD MACHINE in 2006 as we were participants in St. Ann’s Warehouse’s Puppetry Lab. We performed 15 minutes of the piece in conjunction with the lab.  None of that has remained in the piece, except for a couple of the puppets.  There were these incredible metal magpies that were scrapped; that was really the only loss.

Then there was, in 2007, a performance of the full version at Access Theatre in NYC, and then in 2009, there was a performance at Theater Three in NYC.  We realized after the 2009 performance that the 2007, though only a workshop at that time, was much truer and better, and so, in part in 2010, what we are doing now is restoring and fixing 2007.

Can you give a brief overview of what changes the play has undergone?

CARLO: Since it’s inception the play has undergone many changes.  The characters of the Emperor, Vince and Leo have always been present, but there were other puppet characters in some of the earlier versions.  Now there are only ‘the people’ of the city.

The garden at the end has taken many forms.  The biggest change was Renee’s idea to have the garden created by projections, so bringing it into the technological age.

CARLO: In the latest production we tried to use the same elements in different ways.  Many images and themes will recur–for example, the Emperor now has a nightmare about the people getting killed by a foreign army, but in it the emperor also is running from the army.

Later in the play, in the Garden at the end, the Emperor is scared when the walls of the garden move about in the same way the nightmare army did.  The city transforms into Vince’s desk at the beginning, but at the end he turns that desk into the machine that traps the emperor…

Come join us for the lastest version of BIRD MACHINE, at The Secret Theatre.  Details here and Tickets here.

For a complete album of all rehearsal photos, visit our Facebook Page. 

Concrete Temple Theatre

presents

Bird Machine

Limited Engagement

OPENS Thursday, September 9th at 7PM

Closes Saturday, September 11^th.

PERFORMANCES

Thursday, September 9^th;

Friday, September 10^th,

Saturday, September 11^th

at 7 PM & 9 PM

at The Secret Theatre, 44-02 23^rd Street, #104, Long Island City, NY

Through workshops and support from The Jerome Foundation, The Jim Henson Foundation, St. Ann’s Puppet Lab, Workspace for Choreographers, Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Commission, DCA, NYSCA, and chashama, Concrete Temple Theatre proudly presents its multimedia, multi-disciplinary, allegory: Bird Machine.

Using a visceral mixture of object art and puppets — from the creation of the play’s environment/landscape, to flapping birds as rod puppets, to shadow and projection work — Bird Machine is a play about technology, a contemporary fable that explores the desire to live beyond human limitations. Part one reveals: Leo, the dreamer, obsessed with flying; Vince, the realist, trying to control his world through miniaturization; and the Emperor, destroying Leo and his flying machine, out of fear that others will use the technology to destroy the city walls.  In part two, Vince vindicates Leo’s murder by turning his miniature garden into a larger-than-life garden, to lure and trap the Emperor.  Audiences of Bird Machine will experience two worlds and two technologies. The beginning of piece depicts a world that is pastoral, the mechanics simple: a bird flaps across stage then soars overhead.  As Vince dreams, his desk transforms into the city of the Emperor and the People.  Part two, still a puppet- driven environment, uses projections to introduce contemporary technology.

Bird Machine is a co-creation of Renee Philippi and Carlo Adinolfi. Carlo Adinolfi designs sets & puppets; Renee Philippi directs. David Pinkard is composer and sound designer for the through-composed piece. Renée Molina designs lights. Casey McLain is stage manager. Cast includes: Carlo Adinolfi, Brian Carson, Ayako Dean, Sook Kim, Zdenko Slobodnik, and Stacey Weingarten.

Bird Machine runs for a strictly limited engagement, opening Thursday, September 9th at 7 PM and closing Saturday, September 11th. PERFORMANCES are Thursday, Friday, and Saturday at 7 PM & 9 PM, at The Secret Theatre, 44-02 23^rd Street, #104, Long Island City, NY. Tickets are $18; $12 for students w/valid id. Purchase tix online: http://www.secrettheatre.com or at box office.  For info:  www.ConcreteTempleTheatre.com, 212/598-9135. Closest subways: 7 to 45^th Rd/Courthouse or E, V, & G to 23^rd St./Ely.  Close to N, W, & R trains at Queensboro Plaza.

http://www.brooklynrail.org/2010/06/theater/hudson-to-china-toy-theater-in-a-concrete-temple

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