IOTA presents Site Responsive Theatre or Site Specific Theatre performances of the fragmentary plays of Aeschylus, Sophocles, and Euripides. These are visual, physical, and musical performances of the remaining fragments of these classic dramas scored in collaboration with artists from all mediums including sculptors, composers, designers, & performers.
THE MAN WHO KNOWS, EURIPIDES FRAGMENT #115
IN TIME OF NEED, SOPHOCLES FRAGMENT
SOPHOCLES LAOCOÖN at BAMPHA
AESCHYLUS, MYSIANS, KAUAI
AESCHYLUS DANAIDS AT THE PULGAS WATER TEMPLE
PATH OF STEADY SUCCESS, EURIPIDES #259, EAST PALO ALTO
SOPHOCLES NAUSICAÄ, PILLAR POINT
LOVE IS THE FULLEST EDUCATION, EURIPIDES #91, MARIN HEADLANDS
CLOUD TALK (SOPHOCLES #123), SAN FRANCISCO BATHTUB
SPEECHLESS FISH, SOPHOCLES #116 PESCADERO, CA
AESCHYLUS’ THE ARGO
NO MAN’S FRIEND, EURIPIDES #266, AQUATIC PARK
AESCHYLUS’ GLAUCUS OF POTNIAE AT GOLDEN GATE FIELDS
SOPHOCLES’ SINON AT THE EMERYVILLE MUDFLATS
AESCHYLUS’ DAUGHTERS OF THE SUN
Site Responsive Performance Art
It often happens that the real tragedies of life occur in such
an inartistic manner that they hurt us by their crude violence, their
absolute incoherence, their absurd want of meaning, their entire lack
of style. They affect us just as vulgarity affects us. They give us
an impression of sheer brute force, and we revolt against that.
Sometimes, however, a tragedy that possesses artistic elements of
beauty crosses our lives. If these elements of beauty are real, the
whole thing simply appeals to our sense of dramatic effect. Suddenly
we find that we are no longer the actors, but the spectators of the
play. Or rather we are both. We watch ourselves, and the mere wonder
of the spectacle enthralls us.
The Picture of Dorian Gray