"I AM FANNY"

Auto-fiction comedy performance. One woman show.

The greatest pain is over.

PREMISE

Fanny, a young actress in her late 20s, tries not to lose her sense of humor, as she navigates through love, career, family trauma and socio-political changes in the age of social media and #metoo.

DRAMATURGY

The dramaturgy is built on the search for our relationship between the internal and the external locus of attention, the inner gaze and the need for the outside observer, at a time when everything seems to be speeding forward, while humans are struggling to catch up.

Fanny's narration starts from an almost one-to-one confrontation with the audience, where she shares her story and seeks constantly for attention, and ends when she abandons the stage and enters the "real world", taking the risk to be on her own, and accepting the challenge to establish an inner observer with whom she shares her experience from now on. Herself.

TONE

Confessional. 

Direct. 

Aggressive. 

               Light. 

Kind.                    Tragic. 

Vulnerable.                             Ever-present.

The 4th wall is removed, and the Performer addresses the audience directly, borrowing elements from the form of    stand-up. 

MAIN CHARACTER / NON-HEROIC HERO

• Fanny, late-20s-early-30s. Actress with a comedic temperament, she navigates life as if constantly being watched and has the need to narrate it to someone -Anyone. When nobody is looking at her, she feels invisible, as if she is not alive. She vacillates endlessly between omnipotence and ultimate despair, but humor is the main tool to handle adversities and channel pain, as well as to interact with others. 

NARRATIVE MEANS

• SOUNDSCAPES – Musical atmospheres : Sound creates Spaces and Places in the imagination       (eg. traffic sounds, rain, …) 

• OTHER CHARACTERS : dialogue scenes are indicated either by an alternation of voices and physicality by the Performer, or by a recorded voice of the other character

• MUSICAL THEMES REPEATED : they act as allies -they underline or emphasize the narration-, OR as intruders -they enter from the speakers uninvited and trigger remembrance. Only when Fanny exits the stage and goes out into the "real world" does she meet street musicians who play live for the first time what she has been hearing recorded (i.e. mediated) for so long. It is the first time that Fanny connects the ability to compose with the present tense, and realizes she can re-write her own history starting now.

• VIDEO PROJECTIONS FOR :

1. Episode titles.
2. Memories, that haunt her.
3. Oblivion, the gaps of intentional forgetting in order to survive, return.
4. Daydreaming, the escape from reality in order not to face it.
5. Ghosts, also known as her parents, in different forms and faces.
6. Selected scenes, e.g. mobile screen while having a video call or scrolling on social media.
7. The Great Exodus. Fanny, having exposed her most raw personal material, steps off the stage and leaves the venue. Black out for a few seconds. And then a live broadcast (or pre-shot on actual site) of her first contact with the "real world". She timidly walks among the pedestrians and comes across some street band playing live the theme music that was being played repeatedly over the speakers as a recording. A breeze of possibility and freedom propels her forward, and she signals the camera not to follow her on her journey from here on out. The camera stays in place and Fanny goes on, until she becomes a dot in the image.                                  

VIDEO PROJECTION REFERENCES

MOODBOARD

CINEMATIC REFERENCES

WRITING SAMPLE