The following images are stills from video installations by Bill Viola, whose slow-motion portraiture could be an eerie reference point for a less-dated approach to the ever-present picture of Lulu. Click the links for the full videos.
Wednesday, November 3, 2010
Bill Viola
Still ruminating about the possibility of using video in LULU, I started to think about the painting that is created in Act One and persistently sticks around through the entire play; how in the last act Lulu's devastated body pales in comparison to the image of her former beauty; how Alwa, Schigolch, and Geschwitz kneel before the icon in worship of their now dissipated goddess. The painting's fixed impression of Lulu is integral to the story, yet isn't the act of painting portraiture somehow dated in a modernized production? How else could Schwarz capture the image of Lulu?
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