Before SENSETORM became Luciani’s Absolute Theater ongoing theatrical proposal, it was thought to be an isolated piece under that title. I remember planning the auditions back in New York City and giving instructions to the actors on how to prepare for them. Although group auditions - not to be confuse with cattle calls - have been my preferred method since I could remember, Sensetorm auditions introduced the “seduction” method to the process. Anyone who has worked or audition for me knows that although I do appreciate training, talent and experience, the deciding point is always the actor’s energy and not his/her resume … or even the actual “audition”. Actors auditioning for Sensetorm were asked … basically … to pull of the stops and do whatever it was they did best - dancing, singing, playing an instrument, etc. - to get my attention or, in other words: to muse me. Not until after DEBAUCHERS I realized how unfair I had been to these and all other actors that have worked with me. They had no chance of seducing me unless they had know what I’ve finally come to understand - the muse is my own reflection - a projection of my own alter-ego.
TO BE CONTINUED