The multimedia theater work made in collaboration with Creation Production Co. conceived for the Duchamp Centennial, subverts the space of the stage much the way Duchamp’s The Large Glass subverts the space of painting and sculpture. In contrast to the theater of illusion in which a proscenium bisects the narrative space of the stage, the interscenium offers a splintered view of the stage that is both experiential and analytical. It consists of an opaque pivoting panel that splits the stage in two, half for the Bride, half for the Bachelor—front is revealed, back is obscured. A rotation of 180° exchanges Bride and Bachelor domains. A mirror suspended at 45° above the stage reveals what the audience cannot see yet reoriented 90°. Thus, one character is always in the physical space of the audience, the other is present in mediated form. The characters constantly exchange locations, physical states, and sexual identities in a game of temptation and denial. The Rotary Notary and His Hot Plate was written and directed by Susan Mosakowski.
Body armor
