A Monologue Mirror

by Ariel Efron & Jaki Levy

An interface to tap into The Past.

“It’s not you, it’s me”

- my ex

If mirrors could talk, would they talk?

New Victory Theater on 42nd Street

As an individual looks into the mirror, the mirror does not reflect the individual’s image. Instead, it reflects the past and begins talking to you. The mirror, traditionally seen as “interested” in the viewer, is not at all concerned with performing its role – reflecting what is in front of it. Instead, it begins talking about its own past, and ignores reflecting on the present.

WHAT IS AN INTERFACE?

“An object or device enabling communication between two components.”

This interface acts as a gateway – it is the first piece of information – the first layer in an experience. This is the intersection of a mirror and a screen - the subversion of interface – a traditional interface turned inside out.

We are proposing a cinema hall built for an individual. It allows for private moments to transpire between the individual’s mind and heart. Like a rocket launch, it propels the individual directly into the past – and the past has lots to say.

The entire room is an extension of the traditional screen, you are the cinema, the room is the star. As you move about the room, different objects speak to you, in their own tones.

Images are projected right onto the objects. Furniture, walls, columns, hangers, and corners – it seems every inch has been lived in and has its own story.

The mirror is only the beginning, the entry, the portal. The mirror is the opening scene of a time past, a place that has been and still is surrounding you….

Scenario

There is a dark, empty room. A flickering light bulb. No – it’s dangling, not flickering. It seems that only a few moments ago, someone was in this room but they are gone now. You know this room is abandoned and has been this way for years. The swinging door invites you in, despite the PRIVATE sign.

Upon entering the room, the lights by the mirror brighten and the dust settles. The door locks behind you. You look around and notice the makeup strewn about. This is not contemporary Revlon makeup.

You are in Lionel Barrymore’s dressing room at the New Victory Theater– a temple of illusion. You hear the applause of the audience, the acting on stage, the music of the orchestra pit, the actors in the wings, the stagehands waiting silently – all of this business and stillness – but you are in the dressing room, far isolated from it all.

You see a mirror and sit down in front of it. You look in the mirror, but your reflection is not there. Is the mirror playing a trick on you, or are you actually not there?

This emotional interface conveys a sense of loss, a sense of nostalgia.

Abandoned, lonely, neglected for ages, the mirror speaks to a lost time. A time “when things were better.”

The mirror accepts the fact that he’s out of sync with the present and feels bitter about this. Thus, his objective is to provoke empathy, regret, and remorse in the viewer.

The mirror also blames the audience for being a part of this current era of speed.

You sense his anger and bitterness. Yet there is also a sense of envy.

Questions and Considerations

With so many objects in the room, how can the mirror remain centered , the main character?

Does he have a sense of humor?

When he talks about the “old days” he might have a sense of humor. However, his jokes are in past tense – he is not telling the jokes to you, but to an actor who once sat in your place.

He has stopped living past the 30’s – stuck in the past, he tries to relive his glory days, but alas he cannot recapture this lost era.

This actor is located temporally in the gilded age of Broadway – the 1930’s.

As the viewer sits down to look in the mirror, the mirror begins to cough.

Dusting off its old bones, ironing out its brown jacket, the mirror asks, “Good to see you again. How are you?”

Without waiting for answer, he responds, “That’s good. Interesting. Let me tell you something.” The mirror is not interested in the viewers answers. He does not even conform to his own role – reflect the viewer’s own image.

ADJECTIVES + QUALITIES of the character:

Remorseful regretful

Witty, sarcastic

Holier than thou

Angry pessimistic disdainful

Self-absobed, arrogant

Abandoned lonely neglected

Privileged , patronizing