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A filmed play by Richard Foreman.
Since the late 1960s, the almost annual productions of Richard Foreman’s Ontological-Hysteric Theater have been among New York’s artistic highlights. A legend of the avant-garde theater, Foreman is also a passionate film fan, whose taste ranges from American avant-garde to Manoel de Oliveira. ONCE EVERY DAY marks his first foray into feature filmmaking in 35 years. Highly visual, complexly edited and without a traditional narrative, the film zeroes in on a group of 25 people acting out a series of semi-ritualistic behavior patterns. But their eccentric impulses are aborted in unpredictable ways with each attempt at action or development. According to the director, “The film slowly evolves a time-mosaic of reformatted consciousness.” Longtime admirers of Foreman’s work will see an intriguing adaptation of his unique theatrical style to the cinema. And for everyone else: Welcome to the extraordinary world of Richard Foreman.
Experimental documentary in which Foreman presents his way of looking at different issues.
Avant garde film from 1978, by playwright and filmmaker Richard Foreman.
Quite possibly Foreman’s strongest digital video, NOW YOU SEE IT NOW YOU DON’T brings together a variety of different elements, including excerpts from Foreman’s own public talks about his work, a 1984 sound recording of his French-language theatrical adaptation of Kathy Acker’s "My Life My Death by Pier Paolo Pasolini," text from Leo Charney’s book “Empty Moments: Cinema, Modernity, and Drift”, and music from John Zorn and John Cage. These materials are integrated into a typically dense and confounding aural, linguistic, and visual web, one that’s in many ways like a filmic analogue of his theater work. But NOW YOU SEE IT NOW YOU DON’T is distinguished by the addition of various kinds of image processing, a liberal and eccentric use of onscreen text, and an uncharacteristically personal, reflective tone
What to Wear is a raucous, bitingly funny post-rock opera from avant-garde theater icon Richard Foreman and celebrated composer Michael Gordon. In Foreman’s signature style, What to Wear is a surreal extravaganza of operatic tableaux come to disturbing, hallucinatory life. A pageant of seductiveness gone wrong — as everyone on stage turns less and less beautiful, something more ecstatic that beauty slowly reveals its awesome 21st-century face.
A "young woman who finds herself surrounded by the relics of Western culture" is the subject of Richard Foreman's formal tableaux. The narration centers on a young woman's struggle to find a relation between her body and her self as mediated by language. The text is a poetry of formal relations that carries personal and historical implications, including the desires of the woman paradoxically voiced by a male narrator. The title suggests the vivid virtuality of dreaming; scenes repeatedly refer to both reading and sleeping.
Follows a young man who leaves his affluent life to join a wandering vegetarian cult. Led by a charismatic pilgrim, the group subsists by begging, often drawing local ire, like when they're arrested for stealing eggs. Paul and a fellow follower, Marianne, attempt to create a secluded paradise on a remote island.
Various unrelated vignettes, often juxtaposing sound and image.
The film is about looking. I bet that slight variations of few recurrent elements would encourage the viewer to free associate and to fantasize a kind of narrative. - BM