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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
Introduction
Crash
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
Wedding
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
Passengers
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
Despair
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Hades
Bowtie Parcel, Los Angeles River
Breakthrough
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
Orfeo
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
Finale
The Central Hub

Orlando Portrait

Location: Libros Schmibros Book Store, Boyle Heights
Young Orlando: Gabriel Garcia
Cello: Betsy Rettig/Derek Stein
Special Thanks to Colleen Jurretche and David Kipen at Libros Schmibros
Music by Andrew Norman
Text by Jose Ortega y Gasset, Meditations on Quixote, and Yuval Sharon
Orlando remembers a book he read that helped him make sense of his world. Looking at the past from the future, he now sees that when he least expected it, life fell right into place, exactly at the right time. Orlando travels along the streets that contain so many simultaneous selves and wonders, “which one is me now, and which one is me then?”

Notes from Director, Yuval Sharon:

“We see young Orlando take a book off the shelf of Libros Schmibros book store in Boyle Heights. He reads the book in Spanish – Jose Ortega y Gasset’s Meditations on Quixote – as he walks down 1st Street.

“Without looking up he finds his way in a car, where another version of him is playing on the cello. We then hear the voice of a third Orlando through the car speakers, from the stand-point of the future. He claims to barely recognize this younger version of himself, but he remembers the moment that he felt he was addressed from a voice that spanned generations: it was like a moment of calling.

“I think all of us who have dedicated our lives to the arts can remember similar moments, when a connection with a work of art strikes us like a thunderbolt, and a previously unknown destiny emerges as an inevitable path for our lives.

“Numbering the chapters was a back-and-forth process towards the creation of an arc that would add up if you could follow the characters chronologically.

“The older voice of Orlando speaks from a position that is closer to the Luchas of Chapter 29, Chapter 31, or Chapter 33 – and following Lucha’s reminiscence of the supernatural connection she felt to Monteverdi’s Orfeo in the previous chapter, this chapter shows Orlando experiencing the same thing with different results. But of course, and quite intentionally, no audience member could ever actually experience the piece in anything resembling a proper order. Depending on the direction the live audience travelled, the chapter that followed this one was either Chapter 4 or Chapter 17 – not Chapter 33. Like the Cortázar novel, I was hoping the audience would feel the sense of a center to the work, a place where all the various chapters connect, even if they cannot experience it. Beyond the post-modern aesthetic exploration of this sense of discontinuity, I think the existential implication of this idea was central to the concept of Hopscotch.

“I read Ortega y Gasset’s essay immediately after reading Cervantes’ original – I’m not sure I felt as thunderstruck as Orlando, but I’ve never forgotten the brilliance and clarity of his ideas, and I think many of them shaped some of the philosophical underpinnings of Hopscotch. The young Orlando reads a part I thought about a lot in the early stages of Hopscotch: ‘When shall we open our minds to the conviction that the ultimate reality of the world is neither matter nor spirit, is no definite thing, but a perspective?’ Or even more powerfully: ‘I am myself plus my circumstance, and if I do not save it, I cannot save myself.’

“Gabriel Garcia read the text as if to himself – but to make sure he didn’t have to sacrifice that illusion while on the street, we gave audiences headphones for their walk from the car to Libros Schmibros bookstore. The amazing result was not just the more intimate connection of his voice in our ears, but the sound of the streets were also amplified and alienated through the process. I loved that the ideas of the Ortega y Gasset, which ask us to consider how the circumstances of our lives shape who we are, was not only better heard through the headphones but brought to life.”