View allAll Photos Tagged questioning
Change: QUT Student Conference 2014 // Photographer: Timothy Hui // When producing derivatives, please appropriately credit source.
Economic and societal changes have led to increased questioning about the purpose of working. The “Great Resignation” and “Quiet Quitting” have been in the headlines and seem to indicate a dynamic time with new questions. In many ways, these times seem unprecedented, and yet in 1981, St. John Paul II wrote, “Work is one of these aspects, a perennial and fundamental one, one that is always relevant and constantly demands renewed attention and decisive witness.” In the exhibit, Why We Work, several witnesses highlight what is true and timeless in front of these new questions.
La captation acoustique des Burning Peacocks est en ligne. A regarder et à partager sans modération. Un grand merci à toute l'équipe !
quai19production.fr/?portfolio=burning-peacocks-questioni...
Questioning the nature of the photographer's ability to push and pull their subjects into whoever they are needed to be- the total loss of self experienced by the subject of a piece of art.
Questioning New Media, taught by Jill Miller, with Renée Pastel as GSI, presented their final assignments on 12/7/2015 at 340 Moffitt!
Private Morena, questioning his reasons for being in the National Guard, later joined active-duty service. Being told to go home by protestors “especially hurt because I’m from here, this is my home”.
By the time audiences entered the Hiwan Homestead Museum for Evergreen Players’ immersive production of Murder Prohibited at Hiwan, the performance had already begun.
Not just the murder mystery.
Something larger.
The historic mountain home had been transformed into a Prohibition-era underworld of whispered deals, interrogation rooms, jazz-age tension, and live audience interaction. Guests moved room to room investigating the crime, questioning suspects, and participating directly inside the unfolding narrative. Actors improvised constantly beneath the pressure of unpredictability. No performance settled into the same rhythm twice.
Inside that atmosphere existed a sharply dressed, emotionally articulate actor named Orlander Hwhaley. He played Salvatore Marconi Jr. A mob boss.
At least, that was who everyone believed him to be.
For the entirety of the production — from first readthrough through closing night — castmates, crew members, and collaborators knew him only as Orlander. The name appeared on call sheets. The program biography. Conversations unfolded through that identity. Rehearsals, backstage discussions, emotional moments, artistic debates, text threads, karoke and interpersonal relationships all existed within the continuity of that persona.
Then, after the production closed, Orlander disappeared.
And Russ Dale stepped forward.
“Method+”
After closing night, Dale revealed to the cast that “Orlander Hwhaley” had been part of an immersive acting framework he called Method+.
It was not simply a stage name.
Nor was it merely “staying in character.”
Instead, Dale described it as:
“part performance art, part immersive actor’s process, and part way of extending the world of the show beyond the stage itself.”
The framework expanded performance into daily interaction itself:
- call sheets
- email identity
- wardrobe language
- social continuity
- offstage behavioral coherence
- personal mythology
The result was not a prank or hidden joke. It was a sustained ecological performance embedded inside an already immersive theatrical production.
And for months, it worked completely.
One reason it worked was because Orlander himself possessed an unusually coherent philosophy of performance and identity. Throughout the production, he spoke often — sometimes poetically, sometimes analytically — about presence, immersion, creativity, and the fluidity of selfhood.
“I treat life itself as immersive theatre,” Orlander once said. “An adventurer of states of being.”
That philosophy formed the backbone of Method+ itself.
Rather than treating acting as emotional imitation, Orlander approached identity as something responsive to environment and pressure — something capable of shifting form under the right conditions.
“In physics terms,” he explained, “I’m less interested in particles and more in phase transitions — when something crosses a threshold and becomes something else entirely.”
Artistic philosophy? Also methodology.
Building Conditions Instead of Characters
Traditional acting often begins with psychology:
Who is this character?
What do they want?
How do they feel?
Method+ inverted the equation.
Instead of trying to “perform” a role internally, Orlander focused on constructing an external ecosystem so complete that the role became inevitable.
“Method+ isn’t about staying in character,” he said. “It’s about building a world so complete that character becomes the only logical way to exist inside it.”
That idea quietly reshaped the entire production experience.
The performance was no longer confined to scenes. It existed in atmosphere. In cadence. In emotional tone. In continuity between rehearsals and conversations. In how one entered a room. Style. Grace. Preparedness.
In how one listened.
“Acting lives in the spaces between spaces,” Orlander said during the run. “In the pause before a line, the breath after a glance — where something unseen sustains you, and the truth of the moment arrives without asking.”
There was a recurring quality to his language: thresholds, crossings, phase shifts, and states of becoming.
“If there’s anything I’ve learned,” he said, “it’s this: the stage is not a place you stand — it’s a threshold you cross.”
By closing night, many castmates had crossed that threshold with him without fully realizing how far.
The Human Side of the Experiment
What complicated the reveal emotionally was that the sincerity inside the production was genuine.
Dale’s affection for the cast was real.
His emotional investment was real.
His gratitude toward the production was real.
During rehearsals, he sent a message to the cast expressing trust, vulnerability, and admiration for the collaborative environment they had created together.
He thanked them for “holding the world steady for each other when it starts to stretch and shift.”
The message resonated deeply because it reflected the reality of the production itself.
Murder Prohibited at Hiwan became a living organism of actors, crew, volunteers, directors, improvisation, and audience participation all moving together in unstable equilibrium. Every performance required responsiveness rather than control.
Orlander spoke about collaboration not as support structure, but as shared reality construction.
“The thriving actor doesn’t chase the world — they become it,” he said. “Weather, pulse, chaos and grace, all moving through a single human frame." A lens.
Then, almost immediately, he would widen the idea:
“But that frame is never just you. It’s everyone in the room.”
Castmates described him as deeply present, intellectual, during rehearsals and performances — someone intensely focused on listening rather than dominating scenes.
“I don’t try to be the best on stage,” he said repeatedly. “I try to be the most present.”
And perhaps that presence is what made the reveal land so heavily afterward.
When the Stage Disappears
For some castmates, the reveal was fascinating — even artistically exhilarating.
For others, destabilizing.
People began reevaluating months of conversations and interactions:
What was literal?
What was narrative?
What belonged to Russ?
What belonged to Orlander?
One castmate later summarized the discomfort this way:
“It’s not immersive art when the audience has not consented to participate.”
That statement cuts directly to the philosophical center of the experiment itself.
People generally forgive fiction when the frame is visible.
Theatre establishes boundaries.
The audience understands the contract.
The curtain eventually falls.
But once fiction enters rehearsal rooms, backstage friendships, emotional conversations, and ordinary social interaction, the experience transforms from:
“an actor using a stage name”
into:
“Who exactly was I sharing reality with for several months?”
That ambiguity became the final act of Method+.
And yet Dale never framed the experiment as manipulation or superiority. If anything, he seemed humbled by the emotional complexity it created.
“The connection was real. The affection was real,” he explained after the reveal. “Orlander was a frame, a lens, a performed extension of me — but he was never meant to replace me.”
Perhaps that is what makes the story linger.
The reveal did not expose a traditional fraud.
It exposed something stranger:
that sincerity and performance are not always opposites.
That identity itself may be more fluid than people comfortably admit.
And that immersive theatre, when pushed far enough, eventually stops asking where the actor ends and the character begins.
Instead, it asks a more unsettling question entirely:
Where did the stage actually end?
By the close of Murder Prohibited at Hiwan, the answer remained unresolved.
Orlander Hwhaley dissolved.
Russ Dale stepped into focus.
Curtain.
‘China’s Fauci’ Probed for Plagiarism after Questioning COVID Policy
A top doctor in China's fight against the coronavirus is under investigation for plagiarism, weeks after making a social media post questioning the country's zero-tolerance strategy to control the pandemic.
www.breakingasia.com/china/chinas-fauci-probed-for-plagia...
Old Friend
I miss
the questioning brown eyes,
shift of the tail,
patient paws crossing,
waiting for our move -
standing up,
a look out the window,
stepping towards the door,
or that sound,
“Walk.”
Sheri Edwards
05.26.23 147.365.23
Poetry/Photography
Our little dog, a purebred Rezmut [reservation mutt], old and tired, in a favorite spot: under a tree by the water.
#clmooc #smallpoems
Change: QUT Student Conference 2014 // Photographer: Timothy Hui // When producing derivatives, please appropriately credit source.
After questioning the space taken up by a first aid kit, a combination of palisade fencing and a loose footing saw me patching up a pal. Still, at least he got a free tetanus shot for his troubles!
Brett Gelman is shocked to find barely any hands raised to his basic questions and discovering many of the men in the Meltdown audience failing to cooperate Wednesday, as the crowd laughed harder.
10/26/11
© Atrossity Photography