[A/H Index] [^^Terms MASTER Index]Performance Art
Space
Found Space {Canonicle Theatre, etc} Street Art Taverns Theatre as Such Solo performance Stand Up Solo danse/song {Changes to a DANSE} (eg of change) Group performanceTime
Blink Posted/Published Filmed Re-enacted Theatre as Such {Jump to INDEX}Vernier Analysis
Our "vernier" for change are the micro-adjusts that we can make to a basic performance act/element/actor/scene/etc...Vernier:
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{Jump to INDEX}Changes / Vernier Settings
Say that we wish to do a danse. Eg, an African danse based on (this is made up) birth ritual of Bantu/Kush origin. Some aspects are not to be changed, while others might be used to enliven (ie, to de-bore, keep it fresh) the basic work - that is, without altering the *intent*. Verier Analysis =============== {Jump to INDEX}Canon: Non-unique, etc
One of the primary distinguishing marks between performance art and theatre must (i would say) is necessarily that of the unique creation. In theory we can create a repeated act and as such (even if un-scripted) it approaches the scripted nature of theatre. If (especially in drawing with ink or oil pastel or in sculpting marble) once the mark is made - it's there. In painting (especially in oil paint and any work made from a template; eg, screen printing poured mould works, etc) then the mark can be (to some extent) revised and re-made. Thus, if (even if scripted) if i make a performance piece and that it is *intended* as a unique work of art then once i "lay down the brush" then i intende it to NOT be re-worked, modified, etc. Of course this too is a (slight) fiction. We think here of Gorky's portrait of the artist and his mother - which he kept slightly revising over the years but never quite finishing. But, if we script something and then it is performed with the intention of it being unique then it shouldn't be re-performed (even if as tribute to the author). On the other hand, we know that even well-known and canonically scripted works (eg, "Hamlet") can lend to various performances at the hands of different troups - esp in the context of the time/place they are performed at, costuming, etc. However, i think that we should think of one of the dividing marks of performance art vs theatre as being their *seeable* (hearable, touchable, sensible, etc) sense of uniqueness. Just as a copy of the Mona Lisa (made by students or artists for what-ever purpose) will have that sense of "this is *merely* a copy". As a study, it should be judged (eg, as part of a portfolio or as a viewed object of the artist's work) as a copy. I would say that such a viewing is clearly "as a copy". On the other hand, if an artist creates a pastiche of something (eg, Duchamp's "The Mona Lisa with the Moustache" aka "L.H.O.O.Q.") then we know that it is a "copy with intent to distinguish". {Jump to INDEX}Theatrical Expectations
In some ways the idea that the "audience" (if there is one or even if a "passer by") expects a performance and therefore brings with them all of the "baggage" of theatre can be a PLUS or a MINUS. For example, if the perf is conducted in anything close to a traditional stage place (also remember things like: Village square, a tribal site where specific rituals are performed in a manner similar to that in theatre) - then the viewer/ participant are "tuned in" to the "performance wavelength". To begin with, in classial theatre spaces (eg, procenium, theatre-in-the-round, thrust stage, etc - but NOT the black-box theatre) then props, stage geometry, and lighting and even seating are part and parcel to the perf itself and the way that we might use that space. In the case of street/interventionist/found/black-box spaces, we can bring the theatre expectation in (if we so wish) in a manner of ways. The old tri-pod with cards on it announcing the next act (eg, vaudville, burlesque, etc) {Jump to INDEX}Catalog
The simplest "catalog" is of course the "program" that is handed out at theatre performances. It lists the acts, names of the performers, and supporting sponsors, etc. However, the concept of the catalog is more than that a since it IMPOSES an order on the work that would not other-wise exist at all. Note that in most cases a magician's act does NOT involve a catalog or program at all. Only a "lurid" photo outside the performance hall showing the lady being saw-ed in half, or similar is provided. Of course, this is the exact opposite of the so-called "Freak Show" in circus and carnivals. Oddly enough, i've always considered people who find such "shows" of people who are simply a bit different attractive or enticing to be the real freaks. And of course in keeping with the ideas of Community and Communitas, we would see that the circus then becomes the performer's family. Viz the similarity to the "Finishing School" and the "houses" there. This is vibrantly brought to life in Rowling's "Harry Potter" series. Perhaps we artists are the ultimate freaks viewing the dis-interested public as the muggles of our world. Hmmmm. And for my next trick i shall transform this perfectly blank (not really) piece of paper into a picture of a flower!!! Not quite as enticising as the strong man. Also, cf/qv: -["Shadows and Fog"]- by Woody Allen; to me, the strangler is possibly the most normal of the lot; hmmmmm, n'est pas? Naming the Number of Something (supposed to give you power over something, similar to know the TRUE name of somone) The most interesting thing about numbers is our fascination with them. For example, there could be a heated basketball game that goes into overtime after over time and the final score: 112 to 113 would be all that matters. So much for the idea of WINNER vs LOSER. {Jump to INDEX}Informal performance spaces
The use of formal spaces are rather well known; eg, a football field, the "isle" in a church for a wedding, etc. These are discussed at present. See also: {Karate Meet} {Jump to INDEX}Formal Spaces
Ususally grid-based; eg, football field. But, cf/qv baseball diamond. (Ref to George Carlin's routine on football vs baseball) Designated "roles" for various locations. Designated schedual. Cf/qv an olympic track stadium and how it is used for the waavving of the colours, parading the flags.Meets and Jambories
A Karate Meet
It immediately strikes how we are sometimes forced to perform a ceremon not only in public, but in an impropteau space. -[Perf Space - Formal and Not]-In this case, a number of local karate schools were competeing in a (certified) competition. This was based on both age groups as well as belt colours. In this case, the semi-formal aspects of the "dojo" (training house, but also an almost spiritual place where the students gather in seriousness and focus to train). Each of these performance areas was set along the walkways. The entire space was an enormously large enclosed, lighted and air conditioned space - probably large enough to hold 50 or maybe even 100 bull basket ball courts. (Apparently many of areas of Earth (see map) offer these sorts of ritual spaces for various purposes; eg, "doll club meets", "scrap booking conventions" and something called "gun and knive shows" (which apparently do *not* include live demonstrations; alas). But, alas as well; i digress. In the case above, my kids were in the meete. And my daughter (slightly older) to perform first. Yellow Belt (second from the bottom - traditionally white is bottom-most, beginner). Each student was lined up and ready to go. My dauther was third in line. And here in comes the point: We as teachers bring a world of experience to ALL that we do. For who can say of the vagarieties of chanse, circumstance, and rain? The first two students (one at a time) followed the path (i've shown as RED) and walked around to the point on the matt opposite the judges. They then march directly in to the center of the matt, where they stop and bow to the Judges and tell the the "move" that they will demonstrate, they then leave the matt. Then came my daugther a student of one Master Cruz of New York. She marched directly to the side of the matt (i have drawn this path in blue and labeled it "L"), she then turned straight to the right, rounded the corner again smartly turning. When she reached the edge of the matt, she stopped, bowed to the matt and then walked onto it, stopped, stood directly erect and the formally bowed. And then she spoke, "Masters, my name is Samantha Sorensson, my master is Mr. Cruz. I will now perform the shinto-sahn ??name??)". When she was done, she again bowed slowly and deliberately, turned 180-about and marched to the edge, stepped off the matt, turned 360-about bowwed to the matt and judges and then re-traced path "L". Needless to say she was the only one from her dojo who performed in that group, had others done so, the judges would have learnd of the gentle and yet strict ways of Master Cruz. Oddly enough, following her, all of the other competitors imitated her movements - however the fact that she and 2 others were younger and had been placed with the two groups older than her; something about "time's running out, we need to combine the groups". This is odd to me, for if indeed time exists at all, there seems no shortage of it and for it turn out the universes would surely, Shirley, end? me thinks not of time, but only of the path. {Jump to INDEX}
Props
(Objects in general, which can include actors)Static Props
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We buy one of those "do it yourself" book cases. Which ways 3/4 of a long tonne and has all of these sorts of screws, dowels, and clips and such. And of course there is the "catalog" - the contents list. And (as always) that admonishment: If some part is missing do NOT contact the store, call the toll free number below for assistance. There is a drawing exercise in 2D design where you try to create a design using just 11 (eleven) dots. And oddly enough (or not) there is a paininting by Alexander Caulder (best known for his "mobiles" and "stabiles" sculptures). It's an interesting thing to see what you *can* accomplish using just the few dots. To me (of course as a minimalist), there is always the DRAMA as to how the dots are arranged. And for me (like Miro), i imagine that they have their own sort of entertainments and "lives". In one edition of Albert Camus' (prn: Ahl bAIR, Cah moo) "The Stranger", there are several people on the cover -- all dressed in black and white striped body stockings. And each with an odd hat of a similar design. One of the people has (as i recall) a different coloured hat or face - they are all with makeup as i recall). Hence: THE stranger that can be identified just by how they look. Something to think about. Compare this with the ideas in Philip K. Dick's works where at any time a person might be questioned by the police to see if they are "sane". The "problems" have come to the point that people can simply become dis-connected from normality. The tests are of the sort of being able to (properly) explain what simple parables mean: A rolling stone gathers no moss. The grass is always greener on the other side. And of course there are (at least) two different ways to look at these. And not being ABLE to interpret them correctly is evidence of mental imbalance and cause to be immediately isolated and tested. Robert Sheckly "hints" at this in a few of his stories, but only Dick takes it from the realm of the terror that can arrise when one is asked by the pollice: "PAPERS PLEASE". This single act of identification is the basis of much of film noir, as well as suspense thrillers. Ohter aspects of the catalog have been explored by -[Jorge Luis Borges]- in his works involving libraries, or even the contents of a person's pockets. And of course the NON-OBVIOUS use of an object is key to murder mysteries, etc. Thus, the catalog can include or exclude all aspects of the performance. The lie is of course the most outragous of all. Tacking in a note to the program: Due to a severe migrane headache, the part of Lodoviccio will be played by Hans Grueber tonight. Or in the absurdist tradition, Due to a mild case of food poisoing the part of Namu the Whale will be played by Ramma the Whale tonight. The part of the tricycle will be played by a unicycle tonight. etc. {Jump to INDEX} -^_6Index
{Cannonicle} {Catalog} {Changes} {Changes to a DANSE} {Formal Spaces} {Jamboree} (Karate compete) {Expectations (theatrical)} {Un-Expected Elements} {Perf Space - Formal and Not} {Theatrical Expectations} {Un-Expected Elements} {Vernier Analysis} {Vernier Settings} NOTE: After much consideration, i have moved "path" "journey", "walked art", etc to the DANSE page -{Path/Walk as danse}- See also: [What is the role of teh Artist in Society?] [Text as art material] [Coerced performance] -[post post-modernism]- [The Performed Art Technology] [Performance Absurd] [Dada] [frank as performance object] [ "PARTS ONE, TWO, THREE" ] [Performed Art] (start here?) [The Performed Art Act] -[Performance Ceremony]- (including ritual) [The Performed Danse] -[The Performance ENV]- (ie, "envirionment"; ie, out of the theatre) [Performed Art: Filmed] [The Performed Score] -[Performance Space]- [The Performed Text] [The Performed UFO's] (and esp, etc) [The Performed WEB (including programming)] [] [Interventionist Art] [Los Interioristas] [(art) concepts] [Art MovementsStreet Art] [Fluxus] [Street Art]
