Martha Fleming and Lyne Lapointe, La Donna Delinquenta

Corona Theatre

Lyne Lapointe and Martha Fleming have based their reputation on “excavating” derelict buildings and creating installations from and within them. Their sort of restoration does not aim at erasing the traces of time as much as displaying and exploring them. Each deserted building serves as a metaphor for the abandonment and ghettoization of the neighborhood in which it is located.

For their latest project they cleared away the accumulation of 20 years of filth and refuse from the interior of the Corona Theatre, revealing a post-Edwardian vaudeville house replete with elaborate moldings, trompe l’oeil decorations, and wreaths of painted flowers peeling from the ceiling. It is in this setting of obsolescence that Fleming and Lapointe created and presented their own theater piece on the discourse of representation, La Donna Delinquenta (The female offender, 1987). (The title is taken from a

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