“For many signature serial killers, being able to spend time with their victims’ bodies is the ultimate reward. The victim’s spiritless and still warm body is now malleable, submissive and available. It is at this moment when the killer’s fantasy becomes reality, when he or she can make the victim be whatever they want them to be. The victim’s reality no longer exists but the killer’s creation, the physical representation of his or her perception of this oblation … lives on.”
- from Luciani’s Absolute Theater’s “DEBAUCHERS”
After my recent immersion into Jean Genet’s magical world for the production of “Deathwatch” in San Francisco, I started working on what would be later developed as DEBAUCHERS.
Inspired by Genet’s views, I experimented on pushing the central protagonists in the Sensetorm realm - the muse and the artist - to what, at least apparently, could seem as an extreme level or maybe, even a mask. If the muse and artist’s energy can manifest through an actor’s body … why couldn’t it take a mask?
It was while researching about serial killers and murderers in general when I first identified the artist in the murderers and the muse in the victims.
Perhaps one of the reasons why Genet’s work has always fascinated me is because, at least as far as I’m concern, he exposes a controversial world as his reality without indulging in judgement - murdered become saints and saints commit murder.
In Debauchers, I explored the relationship, connection, motive or however you wish to call the transmuting of energy between a murderer and his victims and found that musing comes in many shapes and colors and that your choice of tools could make you into either an artist or a murderer.
TO BE CONTINUED