in development
The Sense Of Wonder

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Augmented Reality




The first iteration of aA.R. focused upon form considering the ideas of Marshall McLuhan and the message of the medium. Through vigorous experimentation, the tenants of the form provide a departure from flatness to full dimensionality and intimacy, unlike any live, non-digital experience. We are currently examining The Male Gaze Theory. Laura Mulvey coined the term Male Gaze—as ways of seeing that have cast women as passive, beautiful objects and codified the false ideal of white, normative, heterosexual relationships. 

Employing the lost medium of the 19th-century stereoscope, while deconstructing the previous use which focused on the female form as an object of spectacle Christine Marie boldly reclaims the form and creates an elemental celebration for women in technology. In addition, the project captures the analog form for the first time for mass dissemination in 360 video.

Working behind screen and on-stage, Christine Marie and her ensemble construct live shadow theater reminiscent of silent-era cinema and enhanced by hand-built stereoscopic 3D technologies. Her current project of poetic, visual storytelling explores 19th-century American industrialization through the eyes of a young couple. This wordless fable reveals a nation forging full-steam into an unknowable future, one in which notions of time and toil are changing, and rail lines fuel an expansive transformation of the collective imagination.  


The expressionist story, while set in the past, explores the modern relevance of living with dignity in a rapidly changing world in which one feels little control over external events.


An interactive installation that allows participants to experience their own 3-D shadows and to explore objects and space within the immersive setting. 

For some venues, dance sections enliven the experience.


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Seamlessly integrating projected shadows, live actors and an innovative original sound score, Christine Marie and her collaborators draw on the history of electric light to manifest a flickering world of natural phenomena and human intervention. Large-scale imagery from simple handheld lights and props takes on mythological proportions as scientific discovery, religious folklore and magical trickery blend into an incandescent work of expressionist theater. 


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Inspired by Heraclitus’ philosophy, Jung’s definition of enantiodromia as "the emergence of the unconscious opposite in the course of time” and the image and graph of a Mobius strip this object dance performance visually explored opposites with a masked Japanese button dancer and cinematic shadows.


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Adapted by CM from the German novel "Peter Schlemihl" this play took on the design challenge of creating a set in which all characters are shadows aside from one who has no shadow. Using three 20' moving screens that boxed in the audience for one scene then spun into various formations for others while telling the tale of a man who sells his shadow to The Grey Man.