Getting really excited about an injection of new inspiration into my practice...that is, showings of fourth and third year work, Cardboard Citizens in collab with the Simon Community showing work on Monday night, debate with the Citz on Tuesday, Noisy Tuesday, a particularly interesting lecture on (amongst other things) modality and the paradox of talking about performance practice and MOST IMPORTANTLY, NRLA!
I have a lot of research to do...I want to be really clued up on the artists performing and have lots of information about who would be useful to speak to. In particular I notice that Rajni Shah looks quite interesting. She is combining curation and producing with being a maker/artist and her website features haunting images, well developed performance text/descriptions and excellent examples of documentation. See here http://www.rajnishah.com/. She also is an associate artist at Chisendale Dance space and used to programme Farmham Maltings, where Jess and Tashi have performed as Glas(s) Performance. maybe they will introduce me?
I'm keen to speak with Marcia Farquar, especially as I'm going to miss her work (it comes right before Lisa's). I think that her blurb and show premise is really close to ideas I have, and I wish I could see her performance in order to process her aesthetic and means of performance articulation.
Need to type up those notes from Roberts lecture...this kind of critical theory may really underpin the way I can present and talk about the work and my making proesses. What was totally reassuring was that I understood most of what was being said and that I have engaged in structuring exercises such as mapping or graphing performance in my Garland process. Now I can really get to grips with how i am making, and assess it in order to better my work.
ARTICULATION is the word of the day. Until now I have thought about it meaning how I am able to express ideas and speech. About how speech comes from my mouth and whether it is competent or not. Robert compared it to the articulation of joints, or a artic. lorry - i.e How things are joined, how they attach and therefore impact on each other. If we think of everything flowing, attched to each other and having a wholistic impression, how do we combine fragments of performance matter so that they make sense (or not) as a whole. OOh, exciting!
Friday, 2 February 2007
Thursday, 1 February 2007
It's a new month- Its a new you
Things aren't going quite as I had planned...the character stuff has melted into my word poems and an examination of performing scots accents and dialects.
I think I need to enlist some help for extreme character generation. I need to find some acting books and perhaps get someone in to help. I wonder if anyone else in the class is interested in creating Tarantula sized characters for their show - maybe Brian and Roxy. I can but ask. I'm really hoping that winterschool is going to feed in and send me reeling in an interesting direction.
I had my space-time today...shared with Caroline and she made some interesting observations about my performance (who was the Skye Boat Song character - what accent. Because I pronounced 'to' in a really english way. I am gearing myself up facially for the high notes, which is at odd with my 'blank' expression for the rest of the song. The North Text is long but there is development so it's okay. She want to get a feeling of what South and East might be, even if it's not finished).
I found out that I really like dancing in my green heels. I was listening to Track 1, of the Forgotten Arm (aimee Man) and trying to get a dancefloor ballroom feel (it really reminded me of my Uncle Jack and how good a dancer he was - he attended the Jack Diamond School of Dancing in Glasgow, and danced my very impressed Grandma around my parents wedding reception!)
Gary and I played with show images. I sang a little...I need to be more prepared when I go into the space I think. (Do I, yes probably, all that off the cuff stuff can still come out in lost moments but I need to utilise my time better, make more of the space)
Got my two dresses from Wardrobe. Requested the flat pack shed. Established the tab track wont have a cost implication (need to make decisions about how that will work, the full reveal or three stages? Go for this, even though its complicated to perform/control!)
I think I need to enlist some help for extreme character generation. I need to find some acting books and perhaps get someone in to help. I wonder if anyone else in the class is interested in creating Tarantula sized characters for their show - maybe Brian and Roxy. I can but ask. I'm really hoping that winterschool is going to feed in and send me reeling in an interesting direction.
I had my space-time today...shared with Caroline and she made some interesting observations about my performance (who was the Skye Boat Song character - what accent. Because I pronounced 'to' in a really english way. I am gearing myself up facially for the high notes, which is at odd with my 'blank' expression for the rest of the song. The North Text is long but there is development so it's okay. She want to get a feeling of what South and East might be, even if it's not finished).
I found out that I really like dancing in my green heels. I was listening to Track 1, of the Forgotten Arm (aimee Man) and trying to get a dancefloor ballroom feel (it really reminded me of my Uncle Jack and how good a dancer he was - he attended the Jack Diamond School of Dancing in Glasgow, and danced my very impressed Grandma around my parents wedding reception!)
Gary and I played with show images. I sang a little...I need to be more prepared when I go into the space I think. (Do I, yes probably, all that off the cuff stuff can still come out in lost moments but I need to utilise my time better, make more of the space)
Got my two dresses from Wardrobe. Requested the flat pack shed. Established the tab track wont have a cost implication (need to make decisions about how that will work, the full reveal or three stages? Go for this, even though its complicated to perform/control!)
Wednesday, 31 January 2007
Rush
Admin, events team meet - frustration (and the re-dawning remembring of if you ask someone their opinion you have to at least listen to their answer...I never really learnt that)
The house mail box is up! Now need to compose an email to ALLSTUDS
Off to interview Sadah on home now, then devise some character tasks for tomorrows rehearsal time. Wardrobe meet at 10am tomorrow. Caro is coming in at 12noon to observe/feed into, then I gotta take some pics for the show...last minute Annie!
The house mail box is up! Now need to compose an email to ALLSTUDS
Off to interview Sadah on home now, then devise some character tasks for tomorrows rehearsal time. Wardrobe meet at 10am tomorrow. Caro is coming in at 12noon to observe/feed into, then I gotta take some pics for the show...last minute Annie!
Tuesday, 30 January 2007
Too Many Things
Had a reasonably good day in the space today...the pressure of doing one thing per day is enough I think. It is super difficult to assess where I'm at in terms of process/material making. I think I'm behind, but am determined not to beat myself up about it. If I'm honest I'm not working as hard as I should, but I will redouble my efforts to create as well as think about stuff.
I'm buzzing with ideas, creative juices are flowing. I must:
1. Go to the Art School library and look at the books/dissertations that I sourced the other day
2. Start thinking about relevant artists (Moda residents, Ambramovich and Teching Hseih) so that I can place my work and be inspired by/create tasks from their work and be influenced by their thinking. I hope this will allow me to go beyond the obvious cliches of my own limited research.
3. Consider this story thing...the stories people can tell of home...translated into texts (obvious but a place to start perhaps). Wednesday is my first interview, with Sadah.
4. Get that house mail box up before the course meet so that I can make an announcement! People, please leave observations, annecdotes, definitions, words or pictures regarding the subject of home in my mail box. Fank oo!
5. The door...exercises around it.
6. Lets try these characterisations...if they are god awful then they can be binned before anyone can see them...if they are alright they can be worked up for performance...but I have to begin somewhere...maybe write some texts as a way in...costume
7. Some immediate durational performances that challenge my own understanding of living? Permission to be in a toilet cubicle for a day...childhood thought of staying locked in that small place with everything I need...eating in the toilet and the social unease...people being able to sit in the cubicle next to me and ask me questions, talk to me about space etc. Consider the tent and living outside. It's dangerous territory but a cardboard box? Can I sleep overnight in the Academy? Walking all night in the city.
8. Work up South and East texts...contact Ros about accents and voice inflections (email sent 30th Jan). get into the inflections and cite real voices rather than imagined/your own versions
9. Record the relevant people saying the texts to work on accents and personal character voices.
Kate said today that she wants to see the questioning of home in my piece. My particular statement of, 'If I can just find out what it is, then maybe I can get it!' is what is interesting to her. I'm also infatuated with the idea of North South East and West as being other to where I'm at. Everything else is directional and relevant to my global positioning...I'm just where I'm at, maybe I'll be somewhere else tomorrow but everything else is something I can only get at! Maybe home is where I lay my hat, home is the ground I occupy...do I want to occupy more space, or less. (Previously my aesthetic for Garland was to create a small intimate space in a large space...because I was afraid of tiny little me not being able to cover the distance. Tramway 4 is such a distinct long space, I need to think about how I use it).
Action Smaction...Traction, there is a lovely word
H*
I'm buzzing with ideas, creative juices are flowing. I must:
1. Go to the Art School library and look at the books/dissertations that I sourced the other day
2. Start thinking about relevant artists (Moda residents, Ambramovich and Teching Hseih) so that I can place my work and be inspired by/create tasks from their work and be influenced by their thinking. I hope this will allow me to go beyond the obvious cliches of my own limited research.
3. Consider this story thing...the stories people can tell of home...translated into texts (obvious but a place to start perhaps). Wednesday is my first interview, with Sadah.
4. Get that house mail box up before the course meet so that I can make an announcement! People, please leave observations, annecdotes, definitions, words or pictures regarding the subject of home in my mail box. Fank oo!
5. The door...exercises around it.
6. Lets try these characterisations...if they are god awful then they can be binned before anyone can see them...if they are alright they can be worked up for performance...but I have to begin somewhere...maybe write some texts as a way in...costume
7. Some immediate durational performances that challenge my own understanding of living? Permission to be in a toilet cubicle for a day...childhood thought of staying locked in that small place with everything I need...eating in the toilet and the social unease...people being able to sit in the cubicle next to me and ask me questions, talk to me about space etc. Consider the tent and living outside. It's dangerous territory but a cardboard box? Can I sleep overnight in the Academy? Walking all night in the city.
8. Work up South and East texts...contact Ros about accents and voice inflections (email sent 30th Jan). get into the inflections and cite real voices rather than imagined/your own versions
9. Record the relevant people saying the texts to work on accents and personal character voices.
Kate said today that she wants to see the questioning of home in my piece. My particular statement of, 'If I can just find out what it is, then maybe I can get it!' is what is interesting to her. I'm also infatuated with the idea of North South East and West as being other to where I'm at. Everything else is directional and relevant to my global positioning...I'm just where I'm at, maybe I'll be somewhere else tomorrow but everything else is something I can only get at! Maybe home is where I lay my hat, home is the ground I occupy...do I want to occupy more space, or less. (Previously my aesthetic for Garland was to create a small intimate space in a large space...because I was afraid of tiny little me not being able to cover the distance. Tramway 4 is such a distinct long space, I need to think about how I use it).
Action Smaction...Traction, there is a lovely word
H*
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