Victoria Moyer

Victoria Moyer

Victoria is a multi-disciplinary artist and has directed, written and performed in theatrical and film works in Pennsylvania, Vermont, New York City, and Jordan. Professional highlights include Game Over (Screenwriter, screened in Sept. 2018 at Anthology Film Archives), Tantalus (Writer, Performer, Manhattan Repertory), Eraserhead2.0 (Writer/Director, Philly Improv Theater), The Pig, or Vaclav Havel’s Hunt for...
Victoria is a multi-disciplinary artist and has directed, written and performed in theatrical and film works in Pennsylvania, Vermont, New York City, and Jordan. Professional highlights include Game Over (Screenwriter, screened in Sept. 2018 at Anthology Film Archives), Tantalus (Writer, Performer, Manhattan Repertory), Eraserhead2.0 (Writer/Director, Philly Improv Theater), The Pig, or Vaclav Havel’s Hunt for a Pig (Asst. Director, Untitled Theatre 61 at 3LD), and The Conference of the Birds, a musical adaptation (Director and co-creator, presented at King's Academy in Jordan). Victoria trained in creative writing and theatre and maintains an ongoing investigation into the pedagogies of arts therapies and interdisciplinary improvisational work. Other trainings include Butoh through the Vangeline Theatre and physical theatre training at Dell’Arte International School of Physical Theatre. Victoria is also a member of the 100th Monkey Theatre Ensemble, who recently presented original work at the Capital Fringe. Previous theatre teaching engagements include The Putney Summer School in Vermont, Hartley House and Manhattan Country School in New York, and King's Academy in Madaba, Jordan. Victoria currently resides in Philadelphia and recently completed a first novella-length work of experimental fiction.

Plays

  • Eraserhead2.0
    This show is an experiment in technological clowning and may incorporate strange & improvisational participation with you and your phones.

    Kasparhauser2.0, a nobody raised by Père Youtube, wants to be someone like somebody else was once. Please help Kasparhauser2.0 by subscribing to this page and leaving a comment about your favorite part or leaving a comment. #wittgenstein #handke #...
    This show is an experiment in technological clowning and may incorporate strange & improvisational participation with you and your phones.

    Kasparhauser2.0, a nobody raised by Père Youtube, wants to be someone like somebody else was once. Please help Kasparhauser2.0 by subscribing to this page and leaving a comment about your favorite part or leaving a comment. #wittgenstein #handke #emojiculture #digitalmediation #sometatheatrical #workout #likeforlike #realcarrotfacts #whatacreep #bodysintrouble #iloveyourvideos #dontyouhavebetterthingstodo #sittingandsmiling #sittingandwalking #textingandtrying #failingandemailing #dudeareyouOKtho? #2millionviews #inheritsscrapsofinformationchanneledoutdailybythemediaorbanaleverydaydiscourseandreproducesthemashisownrealitywhichisnothingelsethanareproductionofareproductionadinfinitum #hahahaha

    Original Work created by Katharina Schmidt and Victoria Moyer
    Live Performance by Katharina Schmidt
    Video and Directing by Victoria Moyer
    Inspiration and Interjection by Benjamin Bennett and the World Wide Web
  • Metta Physics, or the Great Flash
    Metta Physics, or The Great Flash is the result of a collision between physics, romance, and trauma. Our protagonist Almitra awakens after a car accident into the strange modern paradigm of Quantum Physics and must grapple with her fragmented realities and tragic romances woven together by a crassly post-postmodern grandmother, a partner who always says the wrong things, the ghostly constancy of musicians and...
    Metta Physics, or The Great Flash is the result of a collision between physics, romance, and trauma. Our protagonist Almitra awakens after a car accident into the strange modern paradigm of Quantum Physics and must grapple with her fragmented realities and tragic romances woven together by a crassly post-postmodern grandmother, a partner who always says the wrong things, the ghostly constancy of musicians and Butoh dancers, and the determined voices of the prophets-become-scientists.

    The shape of the play and the character development mirror seven key theories in Quantum Physics as described to the audience by scientists like Stephen Hawking, Brian Greene, and Andrei Linde. The audience experiences Entanglement and Uncertainty (in which the web of Almitra’s awakening in the hospital encompasses developments in the scientific lab, joyful memories of Grandmother, and the separation of the Primordial Lovers), Inflationary Expansion and Alternate Dimensions (in which the Lovers are pulled further and further apart and Almitra reveals her inner turmoil since losing all concept of linear time), Dark Matter and Anti-Matter (in which Grandmother teaches us about duality and oneness, and the neuroscientists get nowhere with their research), Imaginary Time (in which Almitra travels through statue gardens, memories, secrets, and simultaneous dimensions of perception), Black Holes and Worm Holes (in which Grandmother teaches us about death, and the neuroscientists’ rationality falters), String Theory (in which Almitra visits the scientists in a dream and spacious and galactic music underscores the Lovers’ acceptance of distance), and Magic (in which the curious spiritual quality of Quantum Physics explodes into realms of compassion and sudden insight, in which we no longer can speak about science, in which all the characters float away into the unending abyss).
  • Tantalus
    Synopsis:

    For the Spirit breathed in Man is free;
    But what comes after is measure for measure,
    And not a God that afflicteth thee.
    As was the sowing so the reaping
    Is now and evermore shall be.
    Thou art delivered to thine own keeping. Only Thyself hath afflicted thee
    -By Rudyard Kipling, with love for Tantalus


    In this modern take...
    Synopsis:

    For the Spirit breathed in Man is free;
    But what comes after is measure for measure,
    And not a God that afflicteth thee.
    As was the sowing so the reaping
    Is now and evermore shall be.
    Thou art delivered to thine own keeping. Only Thyself hath afflicted thee
    -By Rudyard Kipling, with love for Tantalus


    In this modern take on the greek myth of Tantalus, a young woman who angers the gods and is exiled from their company performs one of the most horrific acts known to humanity: she murders her own child and serves them as dinner as part of her revenge plot. The twist in this interpretation is that the gods are self-constructed mannequins by Tantalus. Although the play is "horror-themed" and was written originally for a Halloween festival, it goes beyond the entertaining aspect of "scare" and will leave the audience with lingering sensations of the uncanny, the uncomfortable, and the grotesque.
  • The Conference of the Birds
    “We wait for inspiration and ask no fee,
    the feel of sacred ambiance being enough.
    So bring your malaise, your dullness,
    your callous ingratitude.
    As we meet you, the coming together itself
    will be medicine. We are the cure,
    the look that opens your looking.”
    -Jalāl ad-Dīn Muhammad Rūmī


    The inspiration for this project came from the...
    “We wait for inspiration and ask no fee,
    the feel of sacred ambiance being enough.
    So bring your malaise, your dullness,
    your callous ingratitude.
    As we meet you, the coming together itself
    will be medicine. We are the cure,
    the look that opens your looking.”
    -Jalāl ad-Dīn Muhammad Rūmī


    The inspiration for this project came from the ancient Persian poem, The Conference of the Birds (Manṭiq-uṭ-Ṭayr), written in the 12th century by Farid ud-Din Attar. The poem presents an allegorical tale of many birds traveling through 7 valleys in order to find Mt. Qaf and the Simurgh, a legendary and mysterious bird who could be their king. Weaving together symbolism, wordplay, and religious anecdotes, Attar’s poem is a metaphysical and spiritual story of struggle, reflection, and enlightenment.

    Based on this story, The King’s Players* created an original musical play, The Conference of the Birds. The ensemble of student-artists, with facilitation, structure, and support from myself and the entire Theatre Department and the Tech Theatre crew at King’s Academy in Madaba, Jordan, composed the show using techniques like visual collaging, physical and spatial exploration, character development, song generation, poem and scene writing, and engaging in long “What if?” conversations to hear and follow the “group genius.” The students have put an enormous amount of energy into the work, and they each created their own bird characters and much of the text, and so any possible future production of this documented text MUST credit them (see below).

    In our interpretation, the spread of the “Bird Flu” prompts the birds to seek the healing King Simurgh. We ask: what is the disease in our human society that has been making our planet sick, and how will we find the cure? We ask: what valleys have you, personally, already traveled through? Where are you now? What are the lessons you’ve carried with you, what is the baggage you’ve let go of? Who are your companions? What are you looking for, and how will you know if you’ve found it? Who are you, and what is your unique role in this journey on Earth?

    *The King’s Players: Maya Abdul-qader, Selina Almasarwah, Zaid AlZubi, Seif Ariqat, Hazar Ghaith, Rakan Haddadin, Hashim Khalayleh, Elyana Konsul, Jamila Kurani, Yara Mustafa, Hadeel Shwwa, Nabila Siregar, Abigail Smith
  • Around the World in 8 Weeks
    This is a Children's Play that was originally written specifically for the students at Hartley House in NYC. Please note there are speaking roles as well as various "dancing-only" ensembles with no lines--the cast size is quite variable and can accommodate up to 100 kids depending on how large each of these separate dance ensembles is. The world locations and dance styles were chosen based on...
    This is a Children's Play that was originally written specifically for the students at Hartley House in NYC. Please note there are speaking roles as well as various "dancing-only" ensembles with no lines--the cast size is quite variable and can accommodate up to 100 kids depending on how large each of these separate dance ensembles is. The world locations and dance styles were chosen based on students who had cultural heritage from those areas, and they helped choreograph those dances. It would be ideal to have someone who is Chinese, for example, perform and lead in the Chinese section.

    Synopsis: Philestrina makes a bet with her friend Jasper that she can travel the world in 8 weeks. Helping her along her journey are several historically important innovators of transportation as well as the Roman Goddess of Travel. Although each country they visit offers fun and excitement through music and dancing, when Philestrina encounters a jewelry thief in China, she must chase him around the world in order to retrieve the necklace and save the day.
  • D&I
    An unfinished collaboration with Katrina Medoff. A mother-daughter take on the Daedalus/Icarus myth, using some text excerpts from "daedalus and icarus" by Zbigniew Herbert and William Carlos Williams' "Landscape with the Fall of Icarus." We performed a first draft at Grace and St. Paul's Church, hosted by the Ume Group, using minimalist clip lights, fabric, music, movement, and recordings of wind chimes.
  • Persea and Medusa
    A short and sweet interpretation for children of the Perseus myth, written for a female "Persea." Fast-paced fun including a fraud psychic and ancient characters who live in a modern world. In the original myth, one of Persea's tasks was to kill Medusa, but in our twist, Persea uses an iPad and a scooter to save the day WITHOUT needlessly killing Medusa!