Community-Building in "H {N)Y P N(Y} OSIS"

Philippe Parreno's H {N)Y P N(Y} OSIS (pronounced "hypnosis") has important contributions to make to the ongoing dialogue over inclusivity and audience engagement in the theater industry.

H {N)Y P N(Y} OSIS is a 360 degree multimedia installation existing in the Wade Thompson Drill Hall of the Park Avenue Armory. By deemphasizing narrative and allowing the audience to experience the space and the micro-narratives within it on their own terms, Parreno has allowed the public to become collaborators in the creation of the ultimate event.

Upon entering the drill hall, the audience encounters Danny The Street, an avenue of marquees of light bulbs suspended parallel to the floor, along with three player pianos, and a marquee perpendicular to the floor that displays both still and moving images. At the end of the avenue, a circular mass of bleachers rises between three large screens where, over the course of the two and half hour loop, four experimental films play. The perpendicular marquee comes to life with Annlee, a nondescript manga character who steps out of the realm of studio art into the hall as two young women actors. These two living, breathing Annlees attempt to engage the audience in conversation.

Philippe Parreno places high value on collaboration: between his collaborators on the films, the composition and performance of the music, as well as other aspects of creation and production, H {N)Y P N(Y} OSIS is hardly a solo exhibition. As such, it walks the porous disciplinary line between studio art and theater. What's particularly intriguing, however, is how Parreno uses the Armory's space to facilitate co-creation of community with his audience. Since H {N)Y P N(Y} OSIS deemphasizes narrative, and runs on a two and a half hour loop for a space of between eight and ten hours, the audience is allowed to drift in and out as individuals or small groups as the piece progresses. They can explore the ways in which the marquees cast light and shadow, and interact directly with the Annlees. In other words, the audience is free to interact with each other, the actors and the space on their own terms. By allowing the audience such autonomy, Parreno shows how artists, both in the theater and studio art fields, can use their art to facilitate non-coercive micro-community building.

The American theater industry is currently exploring ways in which to facilitate audience engagement and community building with its craft. Parreno's H {N)Y P N(Y} OSIS posits one compelling way to do so.