Petra and Karin
Fassbinder and Armin Meier
Been working on someone else's project - developing an idea from this film, though I'm unsure how much to post online before it's performance.
It is strange to atomise a film, on behalf of another creator. In that respect I - as well as all the cast are Karins to the directors Petra.
First we are bodies for a recreation of a flat film, then we speak, and move, depending on our assigned roles and the action of the film we are copying, all hoping to transcend our 'real' self by particpating in this project. Now I have some idea of the directors approach, I'm not overwhelmed by details as I have been when watching the film over and over agin before the first workshop.
I've also wanted to look more into the background of the film and it's context within all Fassbinders other films, a little difficult as I only have a copy of the one film.
I'm starting to see the reasons for what I have struggled with when re enacting the film. Although Karin has all the power based on her looks, it's not just Petra's [unconvincing ] success as a fashion designer that bankrolls this enclosed scenario, but her tangible base of power would always in reality trump Karin's charms.
I was most uncomfortable with a scene where as Petra I had to beg with declarations of my love, something I suspect in real life Karin would be having to do - having had direct experience of the suspicions of the rich.
Francis Bacon and George Dyer.
Carlos Diaz and his Cuban theater troupe Miami Beach Theatre June 2010