Hacking Art Reality
Autor: Carolina Falcão | Publicado: 2012-05-11T15:02:00+01:00


Issues towards Hacking Reality Art and Theatre Hacking on&nbsp; 
https://apps.facebook.com/theguardian/p/37fbb/tf 


Theatre hacking: what's it all about?

                    Coming to a theatre near you …? The Sun's website was hacked in July 2011 by hacking collective Lulzsec.  Photograph: Yui Mok/PA
                            
            
            

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Thursday 10 May 2012
            


An audacious theatremaker has provided audiences with a tongue-in-cheek audio guide to someone else's production. Cue outrage


Forget the antics of Anonymous or LulzSec or even News International.
 For my money, the most audacious hacking in recent memory took place at
 a Montreal theatre last November. Local playwright Olivier Choinière 
held one of his occasional déambulatoires théâtrals – a kind of
 promenade theatre where the audience is directed around a public space 
while listening to an audio play on an MP3 player.
Instead of roaming the streets of Montreal, however, the audience for Choinière's Projet blanc
 – as this one-night event was called – found themselves being led to 
outside the city's classical theatre company, the Théâtre du Nouveau 
Monde (TNM).
There,
 Choinière's audience members were furnished with second-balcony tickets
 to a production of Molière's The School of Wives and given top-secret 
instructions to hide their headphones and only put them back on once 
they were in their seats and the lights went down. When this audience 
hidden within the larger audience at the TNM pressed the right button at
 the appointed moment, they were treated to Choinière's wry, running 
commentary on the production they were watching – a monologue that 
revolved around the question of why we revive classics in the first 
place, and asked whether the director had really found the contemporary 
resonances in Molière's comedy that he claimed in the promotional 
materials.
Choinière – whose best-known play, Bliss,
 was presented in a translation by Caryl Churchill at London's Royal 
Court in 2008 – has dubbed what he executed a "hacking". The philosophy 
behind it: "to enter, to penetrate another cultural event without 
necessarily bothering or breaking or destroying." Indeed, Choinière's 
inaugural theatrical hacking flew under the radar at the time, 
completely unnoticed by the theatre's staff.
Since word got
 out, however, a debate over the ethics of Choinière's surreptitious 
infiltration of another artist's work has been raging. Like any 
high-profile hacker, the 38-year-old playwright provocateur is being 
held up as a hero by some, a villain by others. Irritated by what she 
sees as an aggressive act of disrespect, TNM's artistic director 
Lorraine Pintal has derided Choinière's work as "parasitical". (In 
private, she used even harsher language – accusing Choinière of perpetrating a kind of theatrical "rape".)
But an article last month in Montreal daily Le Devoir suggested that Choinière was following in the illustrious artist-as-hacker footsteps of Banksy,
 who famously smuggled a stuffed rat wearing sunglasses into London's 
Natural History Museum and hung his own artwork in New York's Museum of 
Modern Art.
Of course, long ago, the theatre had a puckish 
proto-hacker in another Royal Court playwright, Joe Orton, who with his 
partner Kenneth Halliwell snuck books out of the library, then returned 
them with subversively altered dust jackets
 and blurbs. We can only imagine what Orton's sock puppet Edna Welthorpe
 would have got up to if s/he had had access to the internet. 
Personally, I find Choinière's theatrical adaptation of the art of 
hacking a pretty clever way of making a point – and, ultimately, not any
 more disruptive to the sacred space of theatre than, say, the current 
fad for "Tweet seats", reserved seating in which theatregoers are encouraged to post their responses to the play online.
In
 fact, my mind's been abuzz with ideas for how anarchic artists might 
secretly spirit audio overlays into all kinds of theatrical productions.
 And, perhaps, if newspapers do eventually die out, I might find a 
second career providing commentary tracks to accompany plays – the way 
US critic Roger Ebert has provided audio commentary for DVD releases of 
Citizen Kane and Casablanca.
In any case, I eagerly await 
to see what cultural event Choinière will hack next. And if the TNM 
remains angry, they should be creative in plotting revenge. As an online
 commenter on an article about the Canadian controversy recently 
suggested, why not organise a Molière flash mob to infiltrate one of Choinière's promenade pieces?