MUSE - July 17, 18, 19 — 2014

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  MUSE  It is New York City, 1906, with all the wonder and wealth of the new American aristocracy. But beneath the city’s gilded surface simmers a volatile and frenzied world — a  world fuelled by raw impulse, obsession, and sensuality.  This is a story of fatal love, constructed from the fevered and fragmented images of the imagination; at its centre, the artist’s model and muse, Evelyn Nesbit. She inspires desire in New York’s most famous architect, Stanford White, principal of McKim, Mead and White; the richest man in  America, Harry Thaw; and a young artist, John Barrymore.  The players in this dangerous game are living sculptures: proto-architecture that reinterprets form by fabricating new realities, in a wilderness that lies not outside the city but inside our own minds. We are not responsible for the things we come to be.  Memories are Killing / The Cabaret The Model The Artist’s Dream  A Want That Image Satises  The Making of DianaNo RegretsDimming the LightsIntermissionIf Only Harry’s NightmareMarry MeMasqueradeBecoming  Veiling, Unveiling Diana on Trial The MuseI IIIIIIV  V  VI VIIInt. VIIIIX X XIXIIXIIIFin. SCENES   v   Executive Producer Dr. Tracey Eve Winton MUSE is a play presented by the students of the Waterloo School of Architecture, at the former Riverside Silk Mill, in Cambridge, Ontario, July 17-19, 2014. Every summer, the second year class at the University of Waterloo School of Architecture write, direct, produce, build, and perform a play in order to explore themes and motifs introduced in their Cultural History course. MUSE is based on a true story.  The Waterloo School of Architecture’s annual play is one of the school’s richest traditions. The project was srcinally conceived by the late Professor Larry Cummings, one of the school’s founders, creator of the core cultural history stream which has shaped our program’s unique character. The play’s present form, inspired by R. Murray Schafer’s writings on the ‘Theatre of Conuence,’ imagines our production as a dynamic, evolving 1:1 scale model and space of architectural and environmental investigations and a research into the process of design. We work outside of traditional stages to address site-specic issues, from public space down to the level of detail. Theatre’s complexity challenges the class to think organically, by envisioning architectural objects and embodied knowledge as dynamic ecologies, resilient, performative and productive, rather than as inert.  The students elected co-ordinators, researched and scripted the story, established the site, strategized a business plan, organized publicity, choreographed and acted. Inspired by historical artifacts of every variety, they devised instruments, wrote and performed srcinal soundtracks, design-built sets, sourced and fabricated key props, and crafted costumes, demonstrating how one takes up a creative position with respect to knowledge. We recognize the value of diversity in individual abilities, which allows unique talents and interests to ourish in an atmosphere of collaboration and mutual support, optimizing collective goals, in many ways modelling a real building project. PREFACE
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