WEEK TWO
Week two documentation by Verity
Class on 22nd October – Boiler Room
• THIS WEEKS TASK: Use a spatial idea as a viewing device. We must put ourselves in the screen. Use ideas in the space to shape our thinking and response. Use this as a starting point. Make a little something to perform/present.
Chris Goode’s Lecture Notes
Spatial Concepts – Relationship between Performance and witnesses
Pourousness between Performance and Non-Performance
Matrix/Grid (Kirby Uses Performance and Non-Performance)
3 Stage Rite of Passage:
- Separation – Transition – Re-incorporation
- Liminal phase as ‘tunnel shaped’ – walked through
- SHUNT – liminal/liminoid function – tunnel entrance – problem with Performance Space. How do we move from this into the real world?
-
SUBJUNCTIVITY – things that could be- things that we wish for – what if?
Shakespeare – forrest spaces – island spaces –
(these have a ‘closed offness’ from performance space.)
Liminal subjunctive – the idea of an enclosed space where normal rules are excluded.
MODELS: Where is liminality in our society now?
FORRESTS as liminal spaces and models for theatre
FIELD – John Burger – being drawn into the field
Archipelligo (?) – system of islands – no barriers
ALTERMODERN – Nicholas Bourriard – A field not circumscribed by a boundary.
Re-introducing idea of narrative.
Resistance – liminality – transgression
- Making a dissident space has to exist
- How does Performance distinguish itself? Something that resists subjectivity
- WHAT IS
- A space embedded in another space.
Minutes from Meeting 3
22nd October – 2.30 – 3.30pm – Boiler Room (Upstairs)
• We are all to have read Chris Goode’s essay, The Forest and the Field, by the next time we meet.
• This week it is Andrea’s responsibility to make the blog. It is agreed we all put spontaneous ideas to help each others process. Brainstorming for Moving Bodies in general and for each weekly task.
• We must be more specific about what we’re doing, and use our time better.
• We have a weekly Orientator – who’s job it is to ‘funnel’ ideas and keep us on track. This week it is Louise.
• We have an Administrator – this is Leah – she is the main point of contact for inter-company telephone calls and emails.
DICUSSIONS around NEXT WEEKS TASK -
• Look at our chosen area, like a field and see if there is something in there which draws our attention, like a small patch & then we will use that as a performance space.
• TWO spaces initially flagged up are: cemetery and man-made hill.
• Liminal states within the liminal states
• Framing it and finding an area within that – like Alice in Wonderland – keep discovering.
• Macro scale, then micro. Synthesising it down.
• Telescoping images. Zooming in.
• Try to be exact about what we’re filming
• Andrea mentions we need to have a plan B. So the man-made hill is our alternative site.
• Spontaneity, other ideas.
• Zooming in and panning out on another area/space.
• Issues around light/dark. Timings.
P.S
Now that Louise can’t make Monday and Leah’s got plans, what shall we do? I’m still keen to meet and actually visit our sites.
I’ve spoken to the security staff and it seems like quite a hassle to get into the space for Monday, but it could happen on Wednesday. Apparently the security staff have to get permission from the Jewish Society. I’ve called the security man and left a message on his answering machine.
Also – I’ve looked at Jen’s handout. She needs our Blog address by OCTOBER 29th. And we ALL have to individually document and evaluate our experiences.
• THIS WEEKS TASK: Use a spatial idea as a viewing device. We must put ourselves in the screen. Use ideas in the space to shape our thinking and response. Use this as a starting point. Make a little something to perform/present.
Chris Goode’s Lecture Notes
Spatial Concepts – Relationship between Performance and witnesses
Pourousness between Performance and Non-Performance
Matrix/Grid (Kirby Uses Performance and Non-Performance)
3 Stage Rite of Passage:
- Separation – Transition – Re-incorporation
- Liminal phase as ‘tunnel shaped’ – walked through
- SHUNT – liminal/liminoid function – tunnel entrance – problem with Performance Space. How do we move from this into the real world?
-
SUBJUNCTIVITY – things that could be- things that we wish for – what if?
Shakespeare – forrest spaces – island spaces –
(these have a ‘closed offness’ from performance space.)
Liminal subjunctive – the idea of an enclosed space where normal rules are excluded.
MODELS: Where is liminality in our society now?
FORRESTS as liminal spaces and models for theatre
FIELD – John Burger – being drawn into the field
Archipelligo (?) – system of islands – no barriers
ALTERMODERN – Nicholas Bourriard – A field not circumscribed by a boundary.
Re-introducing idea of narrative.
Resistance – liminality – transgression
- Making a dissident space has to exist
- How does Performance distinguish itself? Something that resists subjectivity
- WHAT IS
- A space embedded in another space.
Minutes from Meeting 3
22nd October – 2.30 – 3.30pm – Boiler Room (Upstairs)
• We are all to have read Chris Goode’s essay, The Forest and the Field, by the next time we meet.
• This week it is Andrea’s responsibility to make the blog. It is agreed we all put spontaneous ideas to help each others process. Brainstorming for Moving Bodies in general and for each weekly task.
• We must be more specific about what we’re doing, and use our time better.
• We have a weekly Orientator – who’s job it is to ‘funnel’ ideas and keep us on track. This week it is Louise.
• We have an Administrator – this is Leah – she is the main point of contact for inter-company telephone calls and emails.
DICUSSIONS around NEXT WEEKS TASK -
• Look at our chosen area, like a field and see if there is something in there which draws our attention, like a small patch & then we will use that as a performance space.
• TWO spaces initially flagged up are: cemetery and man-made hill.
• Liminal states within the liminal states
• Framing it and finding an area within that – like Alice in Wonderland – keep discovering.
• Macro scale, then micro. Synthesising it down.
• Telescoping images. Zooming in.
• Try to be exact about what we’re filming
• Andrea mentions we need to have a plan B. So the man-made hill is our alternative site.
• Spontaneity, other ideas.
• Zooming in and panning out on another area/space.
• Issues around light/dark. Timings.
P.S
Now that Louise can’t make Monday and Leah’s got plans, what shall we do? I’m still keen to meet and actually visit our sites.
I’ve spoken to the security staff and it seems like quite a hassle to get into the space for Monday, but it could happen on Wednesday. Apparently the security staff have to get permission from the Jewish Society. I’ve called the security man and left a message on his answering machine.
Also – I’ve looked at Jen’s handout. She needs our Blog address by OCTOBER 29th. And we ALL have to individually document and evaluate our experiences.
Vee Combé (London) wroteat 12:10 on 23 October 2009
ALSO! HERE IS LAST WEEKS TASK FEEDBACK:
Rachel mentioned a piece of art that ours reminded her of, in the sense that it paid a large attention to detail.
“One Thing Matters, Everything Matters”
by Wolfgang Tillman
http://www.tate.org.uk/britain/exhibitions/tillmans/
When Wendy’s group physically came into the boiler room, while their performance was playing this brought up an awareness, is this still the matrix in this live setting? Does something outwith a matrix mean that ANYTHING can happen? For example, if one of the members of the group had tripped or fallen, could this have been outwith the matrix? We wouldn’t have know if it was ‘planned’ or not…
This brings into awareness the vague boundary between rehearsal and non-rehearsal. For example, Louise with her cat in the matrix!
Rachel also mentioned Louise’s music, finding it irritating and pleasant at certain points. This draws us to the attention of the aural matrix. The whole experience of watching, even listening is in 3D – we still listen in a matrix. In fact, music is a good example to signal matrix levels.
Visual Matrix of Gilbert & George. Pattern of grid lines to remind us of that surface.
We must keep in mind that we have a control over how people encounter the matrix.
Rehearsing something that is un-rehearsed – rehearsing something that didn’t exist.
HYGIENE –
Clarity and control within performance.
A sense of cleanliness.
The dirt of working with ideas in a live context
Rachel mentioned a piece of art that ours reminded her of, in the sense that it paid a large attention to detail.
“One Thing Matters, Everything Matters”
by Wolfgang Tillman
http://www.tate.org.uk/britain/exhibitions/tillmans/
When Wendy’s group physically came into the boiler room, while their performance was playing this brought up an awareness, is this still the matrix in this live setting? Does something outwith a matrix mean that ANYTHING can happen? For example, if one of the members of the group had tripped or fallen, could this have been outwith the matrix? We wouldn’t have know if it was ‘planned’ or not…
This brings into awareness the vague boundary between rehearsal and non-rehearsal. For example, Louise with her cat in the matrix!
Rachel also mentioned Louise’s music, finding it irritating and pleasant at certain points. This draws us to the attention of the aural matrix. The whole experience of watching, even listening is in 3D – we still listen in a matrix. In fact, music is a good example to signal matrix levels.
Visual Matrix of Gilbert & George. Pattern of grid lines to remind us of that surface.
We must keep in mind that we have a control over how people encounter the matrix.
Rehearsing something that is un-rehearsed – rehearsing something that didn’t exist.
HYGIENE –
Clarity and control within performance.
A sense of cleanliness.
The dirt of working with ideas in a live context
Hey Verity thanks for doing this its useful to go over these things. I think to not add confusion I will give any ideas for this week on the main wall.. but I did have a question on the above.. do you remember the context for;
Rehearsing something that is un-rehearsed – rehearsing something that didn’t exist.
cos i love this but cant think what it meant when it was said.. ta!
Rehearsing something that is un-rehearsed – rehearsing something that didn’t exist.
cos i love this but cant think what it meant when it was said.. ta!
Vee Combé (London) wroteat 03:21 on 02 November 2009
It was just a comment said when we were discussing what would be un-matrixed!
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