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Summary:
The young Timaeus, stricken by fever, discovers the platonic solids and elementals in a fantastical journey.
Principle:
In the Socratic era of the Greek empire, a dialogue occurred between Plato
and a Sicilian philosopher named Archtyas. Archytas was also a statesman
familiar with the beliefs and ways of many of the ancient people in this
cosmopolitan part of the ancient world and from the dialogue between these two
minds; Plato created the fabled character Timaeus.
In our tale, we meet Archytas/Timaeus and join him on a fevered phantasmagoric
journey. We speculate, that like many of the visionaries of the renaissance
world, Timaeus encountered his inspiration of the platonic solids from an
encounter with the akkadian noumens of inspired delirium.
In our tale, we walk with Timaeus as he encounters the Pythagorean daimons that
inspired the platonic myth of the solids.
For further information, see:
The Theology of Arithmetic
Iamblichus or Pseudolamblichus
Translated by Robin Waterfield
Phanes Press, Grand Rapids
ISBN 0-933999-72-1
The Timaeus
Plato
Translated by Thomas Taylor
Pantheon Books, New York
Aesthetic:
This production was privately commissioned and performed at a corporate event held in the Grand Ballroom of the Westin Hotel in downtown Seattle.
The hour-long production began on a center mainstage, and progressed out into the audience on five smaller stages. Six trapezes were hung throughout the room, two of which were vertically dynamic.
The performer representing Timaeus began the production in a fevered delirium. Timaeus’ sickbed rose off the stage and became an aerial sling trapeze. Timaeus descended down into the dream realm and encountered three dancers on trapeze. The dancers represented Being, Receiving, and Becoming, and Timaeus interacted with each through dance, movement, and acrobalancing.
Timaeus proceeded into the audience to the first small stage, representing the element of air. A juggler clad in silvery white and blue juggled balls and clubs. Timeaus then traveled to the element of fire, where a performer clad in gold and black danced and played with flame, extinguishing them in his mouth and balancing a flaming pot atop his head. Third, Timaeus moved to the realm of Water. Two dancers clad in shimmering blues, greens, and silvers moved in slow fluid movement, their dance exotic and dramatic. Finally, Timaeus encountered Earth. A strong man sat in the center of a large three-dimensional metal cube. Slowly moving into action, he lifted the cube and began moving it around his body with seeming ease.
Having encountered the Platonic solids, Timaeus moved last to the Cosmos. A
dancer sat perched atop a silky white fabric. Life infused her and an aerial
tissue dance came alive.
Timaeus returned to the main stage, and once again encountered Being, Receiving,
and Becoming. The three states of being danced with firey lights and performed a
stunning circling trapeze routine. Timeaus met Being once again, and ascended a
trapeze to wind down the show with a partner trapeze duet.
Timaeus and the three states of being end the production by climbing onto a large three-dimensional geometric-shaped trapeze, and end high above the stage in a spinning pinwheel of bodies, arms, and legs.
Retrospective:
Rigging in a hotel ballroom is always a challenge, but the troupe’s theatrical riggers and IATSE stage crew made the event go smoothly. Custom lighting design and live music completed this elaborate production, which was a tremendous success.
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