IG @fakers_club
About the project
FAKERS CLUB: LIVE CINEMA PUBLIC PERFORMANCE EXPERIMENT
is an on-going performance series/practice directed by Stephanie Miracle. It is a hybrid practice between cinematic and choreographic thinking within uncontrollable public settings. We like to call it a “live-cinema public performance experiment”. The missing apostrophe in FAKERS CLUB is intentional and subverts the notion of ownership in our title, reinforcing a collaborative process. As an ensemble we formed in 2015 after creating bang! bang!, a performance for a parking lot in downtown Essen. Since FAKERS CLUB’s inception we have been creating new Episodes using time-based dramaturgies with situational ingredients from these public spaces and a filmic logic that invite audiences and passersby to look more closely at what is around. Recent productions have been presented by Impro Dance Festival - Istanbul, Turkey; Theatre Allegora - Auterive, France; Tanz Station Barmer Bahnhof - Wuppertal, Germany; WAM! Festival - Faenza, Italy; Zur Schöner Freiheit - Essen, Germany; and Kunstort Eleven - Reutlingen, Germany.
is an on-going performance series/practice directed by Stephanie Miracle. It is a hybrid practice between cinematic and choreographic thinking within uncontrollable public settings. We like to call it a “live-cinema public performance experiment”. The missing apostrophe in FAKERS CLUB is intentional and subverts the notion of ownership in our title, reinforcing a collaborative process. As an ensemble we formed in 2015 after creating bang! bang!, a performance for a parking lot in downtown Essen. Since FAKERS CLUB’s inception we have been creating new Episodes using time-based dramaturgies with situational ingredients from these public spaces and a filmic logic that invite audiences and passersby to look more closely at what is around. Recent productions have been presented by Impro Dance Festival - Istanbul, Turkey; Theatre Allegora - Auterive, France; Tanz Station Barmer Bahnhof - Wuppertal, Germany; WAM! Festival - Faenza, Italy; Zur Schöner Freiheit - Essen, Germany; and Kunstort Eleven - Reutlingen, Germany.
The directing style of this project references that of filmmakers Alfred Hitchcock, Jacque Tati, and Jean Luc Goddard. With a playful, kitschy aesthetic of 1960s spy/crime tv series (think American Get Smart) FAKERS CLUB creates a disarming viewing experience. Audiences gather at a secret location following a colorful cast of characters. These characters - Franky, Oscar, Victoria, der Kleine Prinz, Chad, Ricky, Molly, Nannette, and Walter - are slippery, double agent types. Carefully arranged with clever, synchronized timing, these characters manage to arrive at the right place at the wrong time, or the wrong place at the right time. They climb through windows, snake down alleyways, bumble onto buses, and catch your attention in the cafe. Each Episode is full of humor, color, and conversations overheard through walkie talkies.
The questions we ask in the creation of each FAKERS CLUB episode are: How can we set up a scene in public space that allows the entire environment to be affected? How can we highlight the relationships between things; inserting both the mundane and the absurd into highly complex, changing systems of traffic lights, train schedules, weather patterns, and crowds of strangers? How can we create a vivid, intriguing narratives within the context of such volatile environments? How can we utilize dance and film theory to undergird our live-cinema-public-performance-experiments? And how can we invite laughter, virtuosity, intrigue, and suspense?
The questions we ask in the creation of each FAKERS CLUB episode are: How can we set up a scene in public space that allows the entire environment to be affected? How can we highlight the relationships between things; inserting both the mundane and the absurd into highly complex, changing systems of traffic lights, train schedules, weather patterns, and crowds of strangers? How can we create a vivid, intriguing narratives within the context of such volatile environments? How can we utilize dance and film theory to undergird our live-cinema-public-performance-experiments? And how can we invite laughter, virtuosity, intrigue, and suspense?