Anne-Marie Creamer

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Treatment for Six Characters, still 1, 2013

still from time-based work, digital photogprahic print, 16.5" x 11.7"

70 USD

This photographic print is a a photographic film from the time-based work Treatment for Six Characters. It was made during a residency at the British school at Rome in 2012, and is aprt of a larger project of the same name. The project has been supported by several cultural institutions in Rome.

For the last ten years of his life Italian writer Luigi Pirandello wanted to make a film that could act as a precursor to his seminal 1921 meta-play ‘Six Characters in Search of an Author’. It focused on his meetings with a Roman family, which acted as a catalyst for the creative development of his famous play and was to conclude with the premier of his play at Teatro Valle, Rome’s oldest working theatre. In effect this meant Pirandello’s film concludes with the event of the first public presentation of the play, the two works forming a kind of loop. He tried and failed to get Treatment for Six Characters made thirty-nine times.

During a Scholarship at the British School at Rome in 2012 Anne-Marie adapted Pirandello’s original 1935 treatment, now narrated by veteran Italian actor Norman Mozzato (who was also Andrei Tarkovsky’s Assistant Director on the film “Nostalgia”), and indeed set the final quarter of the film at Teatro Valle. This has been underpinned by the fact that this influential 1724 theatre is currently under occupation, now run by Fondazione Teatro Valle Occupato, considered an important occupied experiments in Europe. Teatro Valle Occupato collaborated with Anne-Marie, giving her on-going access to the theatre as well as supporting work with actors and lighting technicians. Pirandello’s film is then not just set in the location he wished but also within a newly intense social and political space whose urgencies add new dimensions to the underlying risks of Pirandello’s unrealized project.

Apart from a single sequence the locations of this Pirandello film - which also features Lo Studio di Luigi Pirandello and Fondazione Micol Fontana - has been lit and filmed without actors. This is part of Anne-Marie’s deliberately oblique approach to Pirandello's text, exploring what can be called a ‘cinema of the mind’. She has considered Pirandello’s film as kind of ruin and from its fragments she sought not to make the film in its entirety but instead to construct one film around the paradoxical lures and failures of another, absent film.

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