our crazy idea(s)
Geneva13 is proud to announce it’s newest project: Headless Sullivan Theater.
Relevant. Funny. Twisted. Live. Local. Coming April 2009.
faq: headless sullivan theater
So, the first question has to be: Why Headless Sullivan?
Because it’s catchy and because it’s absurd. General Sullivan’s campaign to raze evacuated Iroquois villages to the ground in the Revolutionary War was pretty absurd, and it seems to me to be anything but heroic in spite of all those historical markers. Yet Sullivan created the Finger Lakes region that we know. Most of the thriving villages he destroyed, well, they’ve been replaced with things like corner quicky marts and defunct auto body shops. The Great Meeting Tree of the Seneca has been replaced with a Ponderosa Restaurant that’s burnt down several times in recent memory. Anyway, with Headless Sullivan we are trying to capture the extreme ironies that surround us. And, the name capture’s the company’s roots in absurdist theater.
What’s absurdist theater?
Let’s look absurdism up in the macbook dictionary….ah, here it is: the belief that human beings exist in a purposeless, chaotic universe. Well, absurdist theater builds on the idea that life sure seems that way sometimes, and its aim is to explore that-as a perception we have of the world that may or may not be accurate. Frankly, it’s hard to make sense of the world. The pace of change is so fast, the disconnections with nature, our own past, so severe. Absurdist theater identifies with that feeling in the audience, and suggests that maybe, just maybe, together we can find some meaning in the meaningless, some message in the noise.
Can you talk about the first production?
We’re putting on two one-act plays: The Lesson, by Eugene Ionesco, and Out to Sea, by Slavomir Mrozek. They’re great plays because they present situations we can all relate to, either because we share the same experiences or because we can identify with the emotions that the asburd situations create. I call those times in life when you feel like everything around you is completely off-kilter, “circus-music moments” because that’s the soundtrack that best fits them. Both plays seem to me to really capture this essence, though I don’t know if we’ll using circus music in the soundtrack. They’re really funny, and I think, really relevant. They’re not preachy or political, they just ask you think to think about things. And I’m pretty sure it’s a kind of theater experience that most people have never had, and that they’ll really like it. Come give us a try!