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I consider my work in theater to be a form of spatial intervention: imposing a temporary configuration on an existent shell that creates a charged environment for action to unfold in over time. The relationship between the space of the action and the "script" of the event is elusive -- space is another thread which visualizes and physicalizes what text and action cannot. By aggressively exploring the shifting sightlines of the audience, enacting a radically changing field-of-focus within a fixed space; as well as exploiting real materials for their intrinsic and transformative properties and not blindly relying on the theater's traditional use of materials illusionistically, I create a world of dynamic and unexpected staging relationships for the director that realize the mise en scene physically and unconsciously but which are neither illustrative or overtly metaphorizing. I frequently employ materials -- plastics and polycarbonates-- that over time transform extravagantly with light.
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Marsha Ginsberg Received her BFA from The Cooper Union School of Art. where she studied with Hans Haacke, Martha Rosler, Barbara Kruger, and Larry Fink. Her focus was photography and installation/performance. During two summers she worked in the Twentieth Century Art Department at the Metropolitan Museum of Art and while at Cooper, did internships at Artforum magazine and with artist Dan Graham. After graduation she exhibited her work with the collective Group Material and in group exhibitions at NYC galleries. She did post-graduate work at the Whitney Independent Study Studio program where pivotal figureswere Craig Owens,Yvonne Rainer, Mary Kelley. As the installations became more theatrical, an interest in avant-garde theater developed. Thereafter, she moved to London for two years to pursue work in theater/performance and travelled regularly throughout Europe to view work by the innovative directors and designers. She returned to the U.S. to attend Graduate School at NYU Tisch School of the Arts. After receiving her MFA in 1990 she remained in NY and began building an active design career. In 1992 she was awarded an NEA grant for emerging designers, administered by Theater Communications Group. The duration of the grant was one year with the mandate to travel throughout the U.S. to work with directors and designers. At this time an association with designer Robert Israel began. (Other grant associations include: Robert Wilson, Francesco Zambello, Robert Woodruff, Martha Clarke, Paul Steinberg and George Tsypin). In late 1993 she returned to Los Angeles to each at UCLA. and continue working with Robert Israel on over twenty opera projects at houses including: Metropolitan Opera; L.A. Opera, Santa Fe Opera, Paris Opera, English National Opera, Vienna Opera, Danish Opera, etc. (Current design projects with R. Israel include Mephistopholes and Fidelio both at the Metropolitan Opera,). She has continued to work as a scenic designer in NY City and in Los Angeles and two years ago established Studio Allied Prosthetics to produce art installations and photographic work. This past summer she completed Phase 1 on The Register, a collaborative installation with sound and lights in rooms of an abandoned Victorian hotel at Art Awareness in upstate N.Y. funded by an NEA project grant. Phase 2 to be completed this summer. Additionally, three bodies of photographic work are in process: Scenes from Medical History, Mundane Wounds and an untitled series of still lifes. S e l e c t e d S c e n i c D e s i g n
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