Bailin Studio

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1979

Disparate Acts: At A Distance

This kind of theater has a particular function: it forces you, through alienation of language, to analyze–to think.

— Merle Ginsberg • The Villager • 13 December 1979

Disparate Acts: At A Distance


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November - December 1979
156 Crosby Street, New York City
The production ran 75 minutes.
Perforrmace Video, original on 1/2-inch tape, 1979 • The Sony Rover II with AV-3400 portable system
Disparate Acts 1979 Playbill
Disparate Acts 1979 Playbill
Performance Playbill

Special Thanks Shirish Korde and the Holy Cross Electronic Music Studio, and Proleptic's Boston Matrix. Dedicated to Marvin and Janet Bailin, Patti Justis and Scotty Synder

About

DISPARATE ACTS: AT A DISTANCE was entirely in black and white. The theater measured approximately 54 feet by 26 feet. The walls of the theater were painted black and the floor off-white. The set consisted of four stage flats: a wall, two windows with interior and exterior design, and a doorway.

Each flat was 9 feet x 5 feet x 1½ feet and constructed of nine-sixteenth inch cardboard reinforced with furring strips and painted white. The furniture was constructed of identical materials and painted black. The men wore black suits, white shirts, black ties and shoes. The women wore white evening gowns.

The lighting was specific rather than general and required precise blocking. A 2,000-watt rheostat dimmed 36 individually controlled (i.e., on/off) lights. Sixteen 600-800 watt rheostats controlled sixteen spots. The spots consisted of 75, 150, 200, and 300 watts. There was one floor fluorescent and two hand-held lights.

The original Radio Sonata and other sound materials for the production consisted of two 2-track tapes operated according to a precise time schemata. Desired sound quality was obtained by placing the stage-rear speakers approximately two feet higher than stage front speakers. Channel 1 went into a stereo preamplifier with balance control to the loudspeakers left rear and right front; Channel 2, likewise over a second stereo preamplifier, went into the loudspeakers right rear and left front. Two additional speakers were placed stage right and were manipulated by the actors.

The Cast

SARAH GEILS *
“This place, it’s not my cup of tea...”
* Appearing through the courtesy of Actors Equity
JOHN HAGAN
man first seen coming down the wall with a piece of chalk
YOLANDA HAWKINS
“I am the servant of the future …”
GLORIA MCLEAN
“I said it would be forever.”
JOHN SORENSEN
“It was a night of many eyewitnesses and eavesdroppers.”
CHUCK STANLEY
the one who is not fascinated by love
RENATE WALKER
“I haven’t much choice.”
DAVID WARRILOW
THE GREAT MAN
CHARLES WEIR
THE NARRATOR

Production Staff

DAVID BAILIN
Written, Designed and Directed
GEOFFREY KING
Composer & Sound Designer
CHARLES WEIR
Lightboard
ANN LEVY
Stage Manager
YOLANDA HAWKINS
Makeup
CRAIG MASSEY
Photography
JOHN ZELENIK
Poster Design and Production

Disparate Acts: At A Distance Script

The script is composed of found images and text. Each cardboard sheet represents one scene.

  •  Full Script

    Full Script

  •  Stage Mockup [destroyed]

    Stage Mockup [destroyed]

  •  A vast desert…

    A vast desert…

  •  …manner of approach

    …manner of approach

  •  You see…

    You see…

  •  …their own monument

    …their own monument

  •  …preceded by music

    …preceded by music

  •  …a sense of falling

    …a sense of falling

  •  …my recollection

    …my recollection

  •  A fabulous display…

    A fabulous display…

  •  …a faint air of unreality

    …a faint air of unreality

  •  …they dance

    …they dance

  •  …my own footsteps

    …my own footsteps

  •  …something far away

    …something far away

  •  …someone I know

    …someone I know

  •  Legion of the lost

    Legion of the lost

  •  A Caricature

    A Caricature

  •  Plots

    Plots

  •  Leveler

    Leveler

  •  A Passing

    A Passing

  •  Profound Silence

    Profound Silence

  •  True Identity

    True Identity

  •  Here Unfolds

    Here Unfolds

  •  You see...

    You see...

  •  Tick Tick Tick

    Tick Tick Tick

  •  This Combination

    This Combination

  •  Monuments

    Monuments

  •  Proof

    Proof

  •  She Composes

    She Composes

  •  The Account

    The Account

  •  Rehearsal Scene, October 1979

    Rehearsal Scene, October 1979

  •  Rehearsal Scene 2, October 1979

    Rehearsal Scene 2, October 1979

Performance Stills

Photography by Craig Massey

Reviews: Disparate Acts: At A Distance


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About the Video

sony-portable

The video taping of the production was an after thought. No one had worked with video before and it is obvious that the lighting (which we thought was adequate at the time) wasn’t bright enough to illuminate much of the play. That’s an understatement. Since at least a third of the play was actually performed in pitch black to create the acoustic environment we sought and scene transitions consisted of the actors moving the set on wheels over a wooden floor in that same darkness, it is amazing anything at all got on tape. It’s also obvious that the camera is not so much documenting the play as following it.

Shot with now ancient reel-to-reel b&w video stock by one of the actress’ husbands without any direction by me, there was only one take. By the time I saw some of the playback through the eyepiece of the camera it was too late to call back the actors and I packed the three rolls away never intending to look at them again.

I found only one place that could transfer this video stock into VHS format. Another ten years passed before I got around to transfer Disparate Acts [at a distance] to DVD and finally as a quicktime movie on the web.

Watching the tape after nearly 40 years, I’m not as bothered by the loss of details as I was at the time of the filming. Frankly, I’m thrilled that this bit of 70s downtown theater has survived in any format.

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