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In these pieces, Manson invented an integrated spectacle which he dubbed ‘Real-Time Film’, a hybrid of film and theatre in which actors recombined formal ideas of performance through the use of simultaneous acting on stage and for live video using complex choreography, puppetry, and autobiography. He
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for his work with Big Art Group. Major funding for the company include grants received from the
Rockefeller Multi-Arts Production fund, The Greenwall Foundation, the Foundation for Contemporary Art and the Florence Gould Foundation. In the United States, Big Art Group has performed at such venues as
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Dance
Theater Workshop (NYC), Hebbel Theater (Berlin), Théâtre Garonne/TNT (Toulouse, France), Festival d'Automne à Paris, Le Manège (Maubeuge, France), Le Vie de Festival (Rome), La Rose Des Vents (Villeneuve d'Asq, France), Wexner Center (Columbus, Ohio), Art Rock Festival (Saint-Brieuc, France),
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Pan Pan
Theatre Symposium (Dublin, Ireland), The Walker Arts Center (Minneapolis, Minnesota), Fresh Terrain/PS122/UT (Austin, Texas), The Wexner Center For The Arts (Columbus, Ohio), The Warhol Museum (Pittsburgh, Pennsylvania), Künstlerhaus Mousonturm (Frankfurt, Germany), Sommerszene (Salzburg,
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in
Austria and appearing in New York at The Kitchen. Combining a large scale video installation, dense text, sound, and fast pace, the play explored ideas of saturation and sacrifice in contemporary society. The text of the play was published in Yale's Theatre Magazine (Vol. 40,No. 2, 2010).
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In Motion
Festival (Barcelona, Spain), RED/CAT (Los Angeles, California, US), Teatro Central (Sevilla, Spain), VEO Festival (Valencia, Spain), Teatro Canovas (Málaga, Spain), Teatro Alhambra (Granada, Spain), Teatro La Fenice (Senigallia, Italy), Trafó (Budapest, Hungary), STUK (Leuven,
380:(Zurich, Switzerland), La Bâtie-Festival de Genève (Geneva, Switzerland), De (internationale) Keuze van de Rotterdamse Schouwburg (Rotterdam, Netherlands), Le Vie de Festival (Rome, Italy), SpielArt Festival (Munich, Germany),
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Temps d’Image
Festival (Montreal, Canada), The Kitchen (NYC, USA), REDCAT (Los Angeles, USA),Yerba Buena Arts Center (San Francisco, USA),Prospettiva 09 (Turin, Italy)
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is a New York City-based experimental performance ensemble that uses language and media to push formal boundaries of theatre, film and visual arts to create culturally
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Festival de Otoño (Madrid), Teatro La Fenice (Sinigalia, Italy), Semaines
Internationales de la Marionnette (Neuchâtel, Switzerland), Théâtre de Nîmes (Nîmes, France)
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Temps d'Image at L'Usine C (Montreal, Canada), Festival Mois Multi (Québec, Canada), Donau
Festival (Krems, Austria), Scene Festival (Salzburg, Austria)
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continued Big Art Group's experimentation with live theatre and video, set and costume design to comment on themes of trauma and popular culture.
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and site-specific creations and - fusing avant-garde performance with community expression. Retelling a contemporary version of the
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referred to the techniques of accomplishing filmic language such as cuts, pans, and zooms as treating "the actor as technology."
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La Comète (Châlons-en-Champagne, France), Théâtre d'Angoulême (Angoulême, France), Festival d'Automne à Paris (Paris, France)
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New
Territories Festival (Glasgow, Scotland), Emilia Romagna Teatro (Modena, Italy), Sommerszene Festival (Salzburg, Austria)
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In 2006 the company began a series of experimental video art, musical collaborations and reality performances,
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Théâtre
Garonne (Toulouse, France), Festival d'Automne (Paris, France), Théâtre de Lorient (Brittany, France)
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deSignel (Antwerp, Belgium), Künstlerhaus Mousonturm (Frankfurt, Germany), Donau Festival (Krems, Austria)
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was simultaneously played and live-projected and broadcast into the public square of the Italian town of
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was an expansion of real-time film that moved the theatre to the street, combining local participants,
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through methods of improvisation. These experiments evolved into a trilogy of works:
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and playwright Jemma Nelson in 1999, Big Art Group has produced original works,
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works. It has publicly declared its goal as the desire to develop innovative
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The Via Festival (Maubeuge, France), Inteatro Polverigi (Polverigi, Italy),
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using original text, technology, and experimental methods of communication.
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Wiener Festwochen (Vienna, Austria), Théâtre Garonne (Toulouse, France)
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House of No More (Premiere Performance Space 122, NYC 2004)
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Thematically, the trilogy began with an acidic critique of
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Dead Set #2 (Premiere Hebbel Theater, Berlin Germany 2006)
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through an investigation of theatre as an analogy for
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Shelf Life (Premiere - The Kraine Theatre, NYC 2001)
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