Michael DeBartolo offers another exquisitely realized recording. In this one, Sebastian has woken up in the ICU after a brutal assault. His lover, Alex, who has been sleeping in the waiting room nights because he is not “family,” sees him for the first time. You can read the whole thing online at www.queerskins.com
To practice his Missouri accent for the upcoming filming of Queerskins: ark VR, Michael DeBartolo is reading parts of Sebastian’s diary (40,000 words that I wrote between 2007 and 2014 http://www.queerskins.com) into his phone, then texting me the files. These are so raw, so intimate and real, that I had to share. Seriously thinking about creating an audio book and /or theater piece that incorporates these. Happy to discuss. Bravo, Michael! https://soundcloud.com/illya-szilak/qs-red-dress
I am in the NIC–North Infirmary Command building today–from the name, you would think it was a bustling tent-hub, efficiently run, filled with scurrying medics and jobs to be done. But, it isn’t. It is quiet here, even peaceful in a forgotten way. It reminds me of an abandoned Victorian orphanage or an insane asylum. The halls, five person wide, linoleum lined, are empty. Every heavy metal door is locked, opened with a medieval looking key that someone always has and someone else always has to find. This place is, in fact, an infirmary. It is populated with hospital beds and inmates with amputated legs, inmates in wheelchairs, on dialysis, brittle diabetics, cancer victims, and, as a hold over to when it was a death sentence, a special ward for those afflicted with HIV. The dorms, spread across a football stadium of space, are cavernous. The whole place feels post-apocalyptic, but, at the same time, utterly normal. It is as if a nuclear bomb went off outside and everyone is dead, but the inhabitants never got the news, and just kept living their lives .
The man with no nose sits patiently on the exam table. He is about sixty, dough faced. In the place where his nose should be is a short stack of blood soaked gauze, held to his face with a piece of cloth tape. He tells me his story in measured tones. It is does not sound rehearsed, The facts are part of him. He has squamous cell cancer, it has spread. He has had surgeries, lots of them, but it keeps coming back. He had a PET scan. The tumor is behind his eye now, trying to go to his brain. He just had a biopsy, now it is constantly bleeding. He swallows the blood. It makes him nauseous. He tells me all this matter of factly, betraying a flicker of emotion only when I ask him if he has pain. Yes, excruciating he says. But even then his voice is dulled, unwavering, as it must be. The facts are facts, but, he must be careful, the story, a thin tissue, is not yet healed to a scab.
The nurse pulls away the gauze. The man winces. She notices. She is Russian-born, with a strong accent, competent but kind. She calls him “mister.” She tells him she will wet it and goes to fetch a bottle of water. When she returns and the bandage is pulled back, neither of us gasp. His face looks as if it has been hit by a bomb, a bloody hole lies in its center. I have never seen this kind of thing before, but it does not disgust me. Nothing about bodies disgusts me anymore. This is what giving birth does to you, and getting old. I lean forward, and peer inside, slightly fascinated. It is a mangled cavern, and hard to make out features. He suggests that I might use a light. I thank him, and I do, but it doesn’t help. I do not know what I am seeing.
Later, when I have to examine another patient, the man gets off the stretcher, removing the white paper covering and pulling down a new sheet from the roll. You don’t have to do that, I say. I do not say “you are going to die soon,” but he knows. “Son of a doctor,” he replies with a smile. It makes as much sense as anything, so I nod. I could, perhaps, wink, but it is not a lie. Rather, we are making up a shared logic, a rubric for how we will go on. The hole is filled with this– chit-chat, small talk, “good to meet you,” “goodbye.” They are everyday incantations for conjuring the illusion that it will be okay.
The profundity of this does not hit me until later. I can picture us now, the man, the Russian nurse and me, standing there, absolutely NOT horrified by the carnage. We are all looking at him, and he too, as if he were a statue in a museum. The Greek boy with no leg, a patrician woman missing an arm–something from antiquity, which, through some miracle has survived. It is not time passing in the abstract that we see. It is a mystery–the mystery of how this man, now everyman and no man, can actually be. We are a little in awe. It is more sublime than any landscape. It is flesh we are honoring, not sky or sea. Jail is incomprehensible. But, right now, looking at him, no place on earth is home. This moment is transcendent and absolutely not transcendent, the way that death is.
I think about what it is to be human. How much of you could a cancer eat away, before you lost that honorific? A lot, I think. The body will fail, you will go to jail, the cancer make its way to your brain. All these things are true. In the face of it, we do not know what we ought to do. So we just stand there, all three of us: me, the Russian nurse and the man with no nose contemplating.
Completed shooting two of four scenes for the next episode of Queerskins. Hadley Boyd gives another great performance as Mary-Helen, mother of Sebastian, her estranged son she has lost to AIDS. Reading his diary, she allows herself to imagine him alive and in love. Thanks to our incredibly talented collaborators: Cory Allen, DP and lighting director, Chris Langan 2nd camera, Laura Cunningham Sound Engineer, and Mike Florio VFX. Brandon Powers was so helpful with movement coaching. And, we could not have done this without Susan and John Pelosi who let us take over their home for a few days. We shoot volumetric in LA next. Premiering early 2020. We are fully funded for the VR but are looking for support for installation/exhibition and live theater/dance performance with this episode. Reach out if you want to know more.
Our interactive installation is open 12 PM -7 PM through Sunday, June 30th at 325 Canal Street. Admission is free in honor of Pride 2019. Come experience this Peabody Futures of Media award-winning VR drama, with the story extended into a physical installation, and online with our multimedia narrative Queerskins: a novel .
Thanks to Wallplay for providing the space and Darragh Dandurand for facilitating!
Thanks to Gabrielle Fox for photos.
SIGGRAPH: Angela Watercutter recently wrote in WIRED that “programmers are looking to make interactive experiences fun for the whole family,” in a story on VR at film festivals. In developing future VR chapters for “Queerskins: A Love Story” is this something you are taking into account?
Cyril Tsiboulski: We are driven to tell emotional, complex stories that explore the potential of new technologies. We think that good art should make people uncomfortable because that is one way we can test our boundaries to understand what we really care about. In “Queerskins: A Love Story,”we create a world which offers visitors the opportunity to connect with an urgent social message in a non-didactic, emotionally powerful way. Through story and technology, the experience puts visitors in the position of living through the intimate, interior worlds of others. It is our hope that this will lead to an emotional engagement with the characters and themes, and, ultimately, an empathy for the characters’ personal experiences and, by extension, for “real” persons who grapple with love, illness, and loss. Is it “fun for the whole family?” That’s a decision and choice best left to the visitor, not the artist.
read more here