Tammy You Have the Time? w/rewrites

Obscura.
Introduction

Image of a burning sage stick on a stand center stage.

First act.

1.First thing in the morning. Tammy is wrought with the decisions of life, and the difficulty in which to perform them. Expressions as she dresses to audio samplings of global leadership of various kinds.

2. Working day in USA. She stands before two sides of objects. The transfer of objects across the imaginary border between them. They are processors, pens, clippers, and small machines which could be held by a hand. Audio and visual advertisements and PSAs.

3.The career cycle. Tammy is pressed first to work in motion with rapidly accelerated and decellerated audio; as well as new mixes and scrathes: creating an imperfect time.

4. Boundries. The barrier of an incomplete task. Things fail to meet the standards we’d like to place them. The lights and music disconnect from the production. The tension is created.

5. Art from creative tension. The performer finds clarity and perspective. She engages the audience for the first time. The play performance begins.

The comedic value is the silence of the subjects in all this, and the automation of a ridiculous task. Perhaps at the end of the sequence, Tammy finds a thread in her garment, and pulls, without tearing it off.

Second Act.

1. A shot in the dark. A large camera obscura is set up before the audience, as if informational. It's focus is on the audience, and the demonstration of use follows the construction demonstrion.

2. Laundry line/Out to dry. A clothesline on stage shows the audience the finished product.

3. What do others see? The photograph is given a telepromptor to read (somehow visible to audience). The stories could be (don't have to be) popular discussions of current events, scientific inquiry, and spacial surroundings of the theatre. Audio of bomb, soldier song, popular music, auto alarms, mourning women and crying baby.

4. Turn to speak. As the teleprompters play, the performer searches off stage and returns with a grip who places the microphone in front of the photo. The audio goes from the running montage then into voices again of politicians, artists, musicians, characters, and other global leadership. The teleprompter and audio stops. The performer taps the mic.

Third Act.

1. A moment of silence for the audience to speak. The performer walks up to center stage where a device has been installed to clip on four corners of a cloth. A vellous screen carries projected streaming video captured live by the performer, while through lighting allows for more of the objects behind the screen to show through.

2. Time/Lascivious exploits. Grips are facilitating the projector placed before the screen, switching live camera feed to sexually evocative and pornographic scenes. Meanwhile, the backlight on the installation is fully on, creating a translucent sex video, and clear back altar.

3. Infinity/Building a shrine. Behind the screen, the grips at the performer's direction, with soft backlighting as to not entirely draw attention or distort the images on the screen, place objects on a tiered furniture. The tiers hold photos, not in frames, candles, not in holders, money, flowers, and ritual items from death. The items harken the period of death we have currently of wars, famines, political oppressions, or suicides. It is a shrine for the living to reflect.

Closing Act.

The emptied stage returns, with the stand and the sage stick lit. Some of the same vellous screening smothers the lit sage.

End of show.