The Facilitators and a Brief History
Before the End of an Era
This page updated August 10th, 2019.
Artistic Director & Paratheatre Training
Between 1970 and 1977, Antero performed and taught Mime Theatre (training by Keith Berger of the American Mime Theatre, NYC). In 1977, he encountered the Paratheatre of Jerzy Grotowski which inspired him to start developing his own paratheatre medium -- as documented in his book, "Towards an Archeology of the Soul" (Vertical Pool, 2003), in numerous video documents (1991-2018), and by Nicoletta Isar, Professor at the Institute of Art History, Copenhagen University. Between 1975 and 2005, Antero wrote, directed, and performed in numerous experimental theatre productions. Between 2005 and 2015, Antero stopped creating theatre to write and direct a series of feature-length art films -- including "The Greater Circulation", a critically acclaimed cinematic treatment of poet Rainer Maria Rilke's "Requiem for a Friend" and "The Invisible Forest", a tribute to French Surrealist, Antonin Artaud. During his filmmaking era, his group paratheatre work went underground in a series of private, non-performance oriented ritual labs. Between 2016 and 2018, Antero and his wife, performer/singer Sylvi Alli, developed and staged five original intermedia works of ritual-based physical theatre in Portland Oregon.
PERFORMANCE & PRODUCTION HISTORY
Music Director & Voice Training
After extensive training in classical piano, Sylvi turned to painting and between 1976-93, her art was shown in galleries in the U.S. and Europe. In 1989, she began her journey into ambient/industrial electronic music and in 1995, she started singing. These elements soon combined in the development of soundtracks for dance, theatre and cinema projects. Sylvi has scored the songs and music for most of Antero's films & theatre since 1989. In 1996, she starred in "Lily in Limbo", a 27-minute poetry film. Her music CDs include "Too Near the Ghosts", "Dream of the Blue Moth", "Under a Shipwrecked Moon", "A Hundred Birds", "Vessel", "Flamingos" and "The Book of Jane". She has acted in many of her husband's films and performed in their paratheatrical productions. Her deep background in ParaTheatre (since 1996) has informed her unique "embodied voice" approach to singing through movement. She is the Music Director and Vocal Instructor at ParaTheatrical ReSearch PDX.
SYLVI'S MUSIC CDS
MUSIC ON SOUNDCLOUD
SYLVI on "EMBODIED VOICE" work
~ A Brief History before the End of an Era ~
a ritual-based physical theatre
Seattle WA; 1988-1996. Eleven years after its 1977 genesis in Berkeley CA, I continued my paratheatrical research in Seattle, directing and producing five performance works, two video documents ("Archaic Community" and "Requiem for a Friend" by the poet Rilke) and a series of non-performance ritual Labs. After meeting Sylvi in 1989, we immediately started collaborating; her music, my videos. Six years later, we became creative life partners. Click this for a chronology of early training, and paratheatrical processes and projects before 1988.
Berkeley CA; 1998-2015. Over the next seventeen years, our focus was primarily private non-performance Labs (8-10 week workshops) where the fundamental methods of this medium were applied and tested many, many times over. Throughout this period, three paratheatre video documents were produced ("Crux" 1999; "Orphans of Delirium" 2004; "dreambody/earthbody" 2012), along with four public performance works ("Hungry Ghosts of Albion" 1999; "Orphans of Delirium" 2004; "Songs as Vehicles" 2004; "Requiem For a Friend" 2005). This era established the foundation for all our future (non-performance and performance) Paratheatre work.
Portland OR; 2016 to 2018; a Poetic Intermedia Ritual Theatre. Between December 2016 and December 2018, we produced five intermedia physical theatre works at PerformanceWorks NW in Portland OR. Each production was preceded by a 10-week workshop (Lab). The performances combined ritual dynamics, vocal incantations, improvised and composed music & songs, film, and great poetry to explore the metaphysical and symbolic dimensions of human experience. We don't do social or political or morality issues or themes, nor do we perform conventional stage plays. Our aim was always to incite visceral and spiritual resonances in the audience towards arousing the Poetic Imagination from its deep cultural slumber.
Our debut production, "A Turbulence of Muses" a symbolist ritual (poetry by Arthur Rimbaud) was workshopped over ten weeks and premiered December 2-4, 2016. In the "2-Faced Clowns Lab", we explored personal and collective hypocrisy to develop the extreme characters featured in "Bardoville" (poetry by Charles Bukowski) with vocal creations by Sylvi Alli and E.V.E. (premiered May 12-14 of 2017 to critical acclaim from Oregon ArtsWatch). Our Dec 1-3, 2017 production, "Soror Mystica: Ritual Invocation of the Anima" (poetry by Hilda Doolittle) was developed during the Alchemy Lab. Music was improvised on site by Sylvi ("Soror Mystica" also earned critical acclaim from Oregon ArtsWatch). Our next production, "Fallen Monsters" (poetry by William Blake), was created in the Contract Lab before its May 11-13, 2018 premiere. Our winter 2018 production, "Escape from Chapel Perilous!" (poetry by Sylvia Plath) came together during the Labyrinth Lab and premiered November 29th, 30th, Dec. 1 & 2, 2018.
CLICK THIS to watch video documents of our past five productions
and other videos of non-performance paratheatrical processes
end of an era
In early 2019, Sylvi and I chose to skip our usual May production schedule to focus on the development and elevation of paratheatre craft in two private, non-performance ritual labs -- starting March 10th with the 8 week Dreaming Ritual Lab and then over the summer of 2019, in the 8-week Muses Lab. Sometime in July, we decided to cease the creation of all future paratheatrical productions. After the month of September 2019, all 8-week "Labs" and weekend intensives will also be discontinued. In the wake of these major changes, we plan to redirect our passions more fully into recording and performing our music and creating new works for cinema (our future projects will be listed at Vertical Pool Productions). Sylvi and I remain deeply grateful to everyone who joined us on this extraordinary journey (we know who we are) culminating in a 42-year era of unfathomable paratheatrical research.
This does not mean this work process itself is ending. This Paratheatre medium can be tested and practiced in solo and group settings by experimenting with the various paratheatrical trigger methods and by studying the many Paratheatre video documents produced between 1991 and 2018. In addition to these resources, our Paratheatre Workbook, "Towards an Archeology of the Soul", is available for purchase.
in deep and formless gratitude,
- Antero and Sylvi Alli
Antero Alli at: firstname.lastname@example.org
503-299-4064 (no texting; record a message)
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