沉浸式体验

Though a single-channel version of the reenacted interviews has already been screened at the Cannes and New York film festivals, among others  — and was recently nominated for a prestigious César Award in France — Kraczon说 this is the first time the public will see the interviews presented in an interactive, 身临其境的方式. 

贝尔画廊展览的中心是三面大墙, 苏布林将三位女演员的表演分别投影在上面. 第一面墙是伊萨, 谁说, behaves and dresses exactly like Schneider in her 1983 interview; the footage of 伊萨 is processed and color-graded to mimic the grainy, 原始电视片段的模拟外观. 第二面墙显示Maïga, 谁的回答比伊萨更少闪烁其词，更有对抗性, 他们的再现是用颜色分级的，以表明一个更现代的时代. 然后, 在第三面墙上, Sandoval answers the interviewer’s questions forthrightly and in contemporary parlance — even using the word “rape” to describe what happened with Brando on the “Tango” set. 声音设计和字幕反映了从过去到现在的微妙轨迹. (所有采访都暗指性侵犯，但没有描述性侵犯.)

克拉宗说，参观者将首先看到两位女演员分别发言，而其他两位女演员则在倾听, 静静地、动情地倾听对方的证词. 然后, visitors will have the opportunity to watch and listen to all three interviews simultaneously, 体验跨历史的, 声音和体验的沉浸式分层. 最后, 墙壁会逐渐变黑, and visitors will hear a 2-minute sound piece that includes some of Schneider’s dialogue from “The Passenger” — a 1975 film the actress often spoke of as the performance “truest to herself.”

“Watching these women holding space and listening to each other is powerful — listening and being listened to is a significant step in acknowledging and processing trauma,克拉松说. 

在三个投影采访的另一边是一面巨大的镜子墙, 可以让参观者同时看到自己和再现的采访. 伊萨和Maïga背后的镜子边缘都经过了老化处理，以显示时间的流逝, 而桑多瓦尔身后的镜子看起来是全新的. 镜子是用来, Kraczon说, to provoke thoughts about how archives often constrain and distort conversations about figures like Schneider — and to encourage people to consider their own roles in perpetuating women’s trauma. 

“伊丽莎白将档案呈现为断裂的, 不可靠的来源,克拉松说, “and uses reenactment and repetition as tools to unravel the dominant narratives that have calcified around these women.” 

整个画廊, 12 separate speaker channels allow visitors to listen to the actresses’ interviews from several different vantage points, offering an immersive experience they can’t get by watching Subrin’s single-channel film in a theater.

Subrin said her interest in creating a film about Schneider’s life and career grew while she was working on “A Woman, 一个部分,” another film project that focuses on a burned-out actress who wants to escape sexism in Hollywood. 当她为这个项目寻求资金时, 苏布林收到了轻蔑的评论——作为回应, 她开了个博客叫 谁在乎女演员? 把它献给施耐德. 

在最近接受《新葡京娱乐平台》采访时, 苏布林是在观看施奈德1983年的采访时说这番话的, “我觉得有些东西很奇怪, 除了显而易见的东西之外的东西, which is that she was depressed about the film industry and was pushed to talk about ‘Tango’ in this uncomfortable way… The more I watched it, 我就越能看到表面之下隐藏着如此多的东西.”

在选择女演员扮演施耐德, 苏布林特意选择了那些为紧迫的全球问题大声疾呼的女性. 伊萨, 她是一位法国黎巴嫩女演员，最近出演了Netflix的《新葡京娱乐平台》,曾在红毯上引起人们对以色列最近对加沙的袭击的关注. 在2018年戛纳电影节上, the Senegal-born Maïga took part in a public protest against racism in the French film industry, 两年后，在csamar Awards颁奖典礼上，他再次强调了这一点. 和桑多瓦尔市, 谁是跨性别者，又是国际知名的作家和导演, has repeatedly spoken about the limitations of trans representation in contemporary cinema and recent violence against Asian Americans.

贝尔画廊的新愿景

Kraczon说 “听力需要” marks the culmination of her nearly 15-year relationship with Subrin, 一个拒绝停留在传统艺术界限内的新英格兰人. Kraczon worked with the 新葡京娱乐平台艺术学院 to fund a portion of Subrin’s project so that members of the Brown and 普罗维登斯 communities could be the first to experience it.

“而不是只把现有的作品带到贝尔画廊, we are producing major new projects that shape the dialogue around pressing social issues and contemporary artistic practice,克拉松说. 

《新葡京平台》将于2月6日星期四上映. 9日，位于学院街64号的大卫·温顿·贝尔画廊. 在普罗维登斯举行，一直持续到6月4日星期日. An 开放接待 与苏布林的对话将于2月11日举行. 从6点到8点.m. 在贝尔画廊. 更多信息可在 画廊的网站.