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1000 WORDS: SHARON LOCKHART

The concept behind Sharon Lockhart’s latest work is straightforward enough: Shoot a thirty-minute roll of film, from a single angle, of an audience listening to a piece of music created as a score for the film in question (by composer Becky Allen) and performed live by a chorus offstage in the orchestra pit. The film blankly registers the reaction of its less-than-rapt subjects: At the outset most follow the music more or less attentively, but eventually, with nothing to look at onstage save the camera, some begin to converse, joke around, even flirt and banter with one another.

As simple as it is seductive, the final product—Teatro Amazonas, 1999—barely indicates the extent of Lockhart’s effort. The LA-based artist exhaustively researched the Brazilian metropolis of Manaus, interviewing and selecting every individual she would eventually include in the audience. The goal: to fill the

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