The Emily Triptych
adapted from the poetry and prose of Emily Dickinson
Director - Charlotte Day
Graphic Design - Amanda B. Friedman
Production Manager (Edinburgh) - Vyacheslav Komarnitsky
Original recordings of Beethoven's Sonata No. 12 in A-Flat Major - Javor Bračić
Orra White Hitchcock artwork courtesy of Amherst University Library Special Collections.
Special thanks to Carol Ayre-Smith, Gemma Border, Javor Bračić, Orietta Crispino, Nicholas Day and Traleen Ryan, Francis Greenburger, Dmitri Gusev, Harriet and Scott Kaufman, Jolene Noelle, Derek B. Scott, Paulina Simkin, Sally-Jane Ayre-Smith and Marcus Skipper, Max Skipper, Marta Werner, Lanie Zipoy, and the Edinburgh Quaker Meeting House.
HOSTED in NYC by...
Proudly and gratefully developed at The Woods Cooperative, Ridgewood, Queens.
Performed at the Edinburgh Quaker Meeting House/Venue 40, August 12th-19th, 2017.
To hang our head - ostensibly -
And subsequent, to find
That such was not the posture
Of our immortal mind -
The Emily Triptych is a translation into drama of something drama often overlooks: the stillness and silence from which great thoughts proceed, and with them, great words. It is an opening up of deep introspection – its language, its patterns, its idiosyncratic beauty – to the external eye. It is an effort to create an atmosphere in which Emily’s thought, and her poems, can live.
Emily Dickinson (1830-1886) spent most of her adult life in extreme isolation. Yet this isolation gave birth to over a thousand poems, many of them the best our language has to offer. From the bedroom, kitchen, corridors of her Amherst house, she loved, and philosophised, and questioned God with a voice that is both familiar and alienating. Domestic and cosmic. Feminine, rebellious, and strange.
Our project meets her at three points in her day: morning, noon, and night. One cycle of the Triptych takes place over an entire day, and consists of three one-hour segments - of which audience members choose one to attend. It is performed in a white room with windows, and lit by the light of the world outside.
"Miranda McCauley is charming and playful as Dickinson, totally absorbing when moving about the space. There is a wonderful sense of freedom to the work, it doesn’t feel pinned to a stage.... The accompaniment was masterfully and subtly applied, often I was struggling to tell if it was part of the show or the space we were in. Ringing bells and the resonating wine glasses slip in and out seamlessly."