CALVIN KLEIN Group
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The Rapture Will Be Televised I-V
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The Rapture Will Be Televised I-V
The Corporate Warrior
Corporate Warriors are strong: They are beacons of confidence and objective truths, full of productive visions of the future and, most importantly, know exactly how the world works. Through a practice of improvisational presentation and conversation, Michael Burditt Norton channels his own inner-warrior using both memory and productive language found in motivational talks, politics and business: how to optimize, streamline, believe, and succeed. This satirical and auto-biographical work uses personal, learned behavior to probe the limits of assumed power and perceived self-determination. It looks for the cracks and brittle-ness of the ‘self-made’ warrior, finds moments to disestablish its power, and reveals what (if anything) lies behind it.
Dramaturgy - Clara Nizard
Developed at the Royal Central School of Speech and Drama
A Ritual For Survival (and hopefully courage)
A Ritual For Survival (and Hopefully Courage) is a series of 15 minute 1-1 encounters between the participant and the artist, Michael Burditt Norton. The artist never speaks: the participant’s experience is mediated through a pre-recorded tape, each tape designed as a ritual to address a specific need, that the participant has chosen: forgiveness, love, money, care, projection, and cliché.
These rituals are personal and intimate, and ask the participant to step into a temporary world of vulnerability and listening. The participant uses the projected body in the room as a proxy for their own body, or the body of another. Rituals are vessels for carrying us from a place of 'before': traveling through a place of struggle and resistance and launching into a clearer perspective of identity on the other side. In this light, the interaction was orchestrated in reaction to the artist's own struggles with value, finding intimacy and self worth in community.
A co-production with Aunt Linda Project Space, Berlin
I Will Still Be Here
I Will Still Be Here is a solo performance that sits at intersection of inherited family and inherited Earth. It addresses inevitabilities of extinction, and how they conflict with survivalist fantasies and the importance of geneology for my family growing up in America. Using autobiographical materials, movement and child-like story telling through projection and song, the work tries to locate my own inheritance and where it sits in my body. Drawing on pop references from the Lion King to Eric Clapton's songs about fatherhood and the world, The work tangles the relationship I have with Father, Mother Earth, ancestry, and my own certainty of both climate change and my ability to survive the inevitable apocalypse.
A co-production of Trafo, Poland
The Terrible Tragedy of Peter Pan
The Terrible Tragedy of Peter Pan is a revisionist telling of J.M. Barrie's classic. Phillip C. Klapperich's scipt introduces child psychosexual language, lip sync numbers, and a story that tells of a child-like play that inevitably, unbeknownst to the players, has very grave real world implications.
Produced at Parallel 45 Theater, USA.
Director: Michael Norton
Production Design: Christopher S. Dills
Projection Design: Brittany Merenda
Costume Designer: Jane Scott
Props and Technical Design: Victor Lawrence
Composers: Aaron Fried, Michael Norton
Production Stage Manager: Linda Osborn
Sound Consultant: Jordan Anderson
Associate Producer: Julie Brewer
Performance Volunteers: Avigail Barel, William Bradbury
Tinkerbell, Dance Captain: Jody Burns
Nibs: Fiona Carey
Tootles: Annelise Dickinson
Hook: Noah Durham
Tigerlilly, Artistic Advisor: Jesse Posner
Musician, Pirate and others: Aaron Fried
Doctor: Molly Bain Frounfelter
Slightly Soiled: Matthew Gutschick
Wendy: Katharine Mangold
Peter Pan: Justin Perez
Smee, Fight Captain: Ben Whiting
Now! Now! Neverland!
Now! Now! Neverland! (2013) was an original immersive experience devised with a company of performers and artists and presented in Berlin. The work interrogated the perception of Berlin as a Neverland, where young people go to retire, and what 'home' means for those away from it. The experience created environments in a factory space that suggested the natural elements of J.M. Barrie's Peter Pan, with grasslands, jungles, forests and a pirate ship. The performers engaged the audience as accomplices in telling the story, creating roles and improvised role play for the audience to become lost boys, pirates, or even Pan's shadow. Ultimately Neverland crumbles, and the audience must chose the choice so many choose as they turn from adolescence: do I sustain 'Neverland' or except the comfort of 'home?'
Artistic Director - Michael Burditt Norton
Co-director - Jesse Posner
Producer - Christopher Shea
Assistant Director - Ruby Grosser
Scenic Designer - Sophie nichols
Assistant Designer - Maggie Wong
Sound Design - Michael Burditt Norton
Documentation - Ashton Green and Sam Coggin
Jessica Lauren Elizabeth Taylor
Presented at Colonia Nova, Berlin
JOAN (2013) was a cite specific telephonic performance. Cut from George Bernard Shaw's Saint Joan, the work explores the shift of trial and sentencing being carried out remotely via videolink. Using the trial of Joan of Arc as the structure, the performance, which took place in two separate offices connected only via speaker phone and video link, inquires how bodies sharing a space can create sympathetic experiences. What effect can such mediated experiences have on 'blind justice,' and is blind justice what we really need?
Director - Michael Burditt Norton
Joan of Arc - Arielle Bier
Judge 1 - Alex Coggin
Judge 2 - Jessica Lauren Elizabeth Taylor