Wednesday, January 27, 2010

harrison & josipovici

... listening to Ted Harrison interview on The Next Chapter he explains ... simplify the shapes & add more colour ... gradually the colour takes over ... the colour was a discovery ...

... strikes me Gabriel Josipovici follows this aesthetic in his novels I've recently read: conversations in another Room & Everything Passes ...

... in the theatre render the action & deepen concentration ... wonder on the pedagogical application ...

- See: ArtistsSpeak

:: note :: ... ? ...

Thursday, January 21, 2010

66 events

66 Events

#six_events in 2008 was performed by hundreds in 29 countries across the globe over 6 days
#sixty_six_events is over a full 24 hour period and can be performed by anyone, anywhere.
#freely interpret and perform any number of the 66 events within the given time
#document your actions and send to
(Crg Hill's poetry scorecard)

- See: events

:: note :: ... missed it ... next year? ...

Wednesday, January 20, 2010

simply be faithful

what theatre really is or princesses of the new moon
they form a gentle circle on a darkened stage listening

faces so seriously still desiring this ones gift &
that ones voice they await the tone which releases them into the wild

lights fade, seats empty, doors open as the future slides in.

you'd think I'd tire of this endless seasonal come & go
experience is brutal, generous & expansive
a worthy loss.

simply be faithful to the eternal visionary tradition of unovertakeable,tender loss.

:: note :: ... end of term ...

Tuesday, January 19, 2010

why write reviews

I am wary of performance and attend when obligated yet often am aroused to write.

I prefer description supported by action. I go looking, searching, asking, questioning, reacting to data, leaping in, constructing notes to [re]act on my responses instead of contemplating on them. I dislike a cursory summary of the narrative action and shy from offering judgemental impressions. I prefer to present details, referencing examples to illustrate an assembling attention. I try to situate the work within the context of the oeuvre of the playwright/director/ensemble or whatever seems appropriate: a close reading of content, form and working procedures, historical and biographical tidbits, the canonical vocabulary of theory, innovation or stated intention.

I require an intelligence of feeling and academic rigour parallel with associative linking to create a complexity that blurs serious and playful thinking. My wish is to stimulate questions that encourage a working manifesto for all types of practitioners. I look for a tone of passionate detachment infused with provocations. I value wit and insight. I recognize my knowledge is fragile, my certainty about anything has decreased and embrace the liquidity of reflection.

As theatre is one of the many "rivers" of culture I write about theatre to swim in its currents. I confess a huge reliance on the vast writings of others from diverse fields and hope my [re]views stimulate engagement on performance work.

Hope to meet you at a performance.

:: note :: ... part of a series of fragments on self ...

Sunday, January 17, 2010

self narrative

What are the artistic processes of performance & how to articulate how I witness the uncapturable in performance practice are questions that guide my exploration. I meditate on them from the vantage point of my own self-narrative, as a performance practitioner whose artistry, in many ways, relies on the willingness of others to disclose, to open themselves.

I left my home and theatre practices turning twenty to immerse myself in another tradition. After an extensive stay within the Grotowski and Grotowski diaspora I returned home to dwell in the perceived place of my creative center. The work inexplicably led to the vocation of education & specifically playing in the territory education of the imagination.

One of the frames through which I construct my research is a focus on the formal in practice: attention to the shapes of narratives, the physical intimacy that changes the time and space of an encounter, the fullness of the movements of touch and density (dancingness & singingness) and on the ways that formal experimentation can open up spaces beyond and beneath narratives that can sound so familiar - those moments of energetic connection that happen through the practice to discover traces of attention and to attain a sensibility towards the aura of vibration.

In time I learned, that my research aim, in all the meditation sequences mistakenly labelled teaching, was not to find essential truths about identity or establish a living, creative consciousness but to explore the limits of entwined ideological, aesthetic and cultural expression and create tools that enable recognition and hence communication. In a deeply practical way the path was to experience the imaginative world we all inhabit and to make that imaginative life experiential.

:: note :: ... taking myself very seriously & reading The Loser by Thomas Bernhard ... "In theory he became one of the greatest piano virtuosos in the world, one of the most famous artists of all time (even if not as famous as Glenn Gould!), in practice he accomplished nothing at the piano ...

Wednesday, January 06, 2010

creative drama fall session

Opens with the King (Morgan) and Evil Queen (Sonia) fighting, the Evil Queen hands the king a mask. The King takes it and then banishes her from the kingdom and throws the mask after her. End Scene.

Next: An old lady (Mary?) is walking along when all of a sudden a monster (Macy) attacks and captures her. While the monsters back is turned the old lady uses her magic to escape and attempts to run away. The monster sees her and a battle of magic begins between the two. The monster pushes the old women to the back of it's lair, when it seems the monster has won the old women grabs her cane and bashes the monster over the head. The monster falls down stunned, the old lady then uses her magic to remove the curse that has fallen on the monster. The monster wakes up and is transformed into a young girl. The old lady beckons the girl to follow her and the two begin their journey to the king by walking on water.

Meanwhile: The Evil Queen is bored and is playing with her servant, she tosses the mask and makes her servant bring it back. The Evil Queen then notices the Old Lady and Young girl on her river. She stops them and only lets them proceed when they take the mask and promise to bring it to the king. As they walk away the Evil Queen's servant tries to tell them something but is stopped by the Evil Queen. The Old Lady and Young Girl continue their journey until the end of the river where they stop to rest.

At the Kingdom: The princess goes to see her father to ask if she can Play with her 3 pet birds. Her father says no and sends her to her room, the princess runs away crying. The Princess best Friend gets up and is soon called by the king, she goes to him and he banishes her before she even gets the chance to bow. The girl runs away crying into the forest, where she is stabbed and killed by one of the Kings men. She lets out a terrifying scream as she dies.
The Princess hears her friend scream, she calls her birds and they go off running to the forest. They find her dead friend, the princess then uses her powers to bring her back to life. The girl and Princess run back to the castle while the birds shortly follow.

The Old lady and Young Girl then continue their journey to the king. They are greeted by the princess who presents them to the king. They present the king the mask and leave to the woods, he slowly puts it on and the second he does a change happens over the kingdom. The birds begin to fly anxiously, the princess runs to hide, and the king begins to change. The birds drop to the ground, lifeless.

Suddenly the Evil Queen's servant appears, she calms down the king and removes the mask. As soon as she has it she runs away and the Kings hands shoot to his face. The Princess comes from hiding, she calls her best friend and the birds back to life. The Old Lady and Young Girl follow the Princess, her friend, and the 5 birds to confront the Evil Queen. They strike her down with the help of her servant.

In Celebration of the Evil Queens defeat Everyone dances around the Princess.

The End

- See: TheaterWork, TheaterWorkCreative Drama

:: note :: ... recorded by Tara Desroches hours after creative drama session ... this was second term of creative drama where I was assisted by Tara & Stefan ... 21 children this time ...

Friday, January 01, 2010

New Year Greetings

Bonne annee 2010,
ouverte sur le monde,
chaleureuse et fraternelle.
Ouvrons nos fenetres
pour regarder et apprecier
la richesse et la diversite
de ceux que nous rencontrons.
Rejouissons nous
de cette lumiere
qui vient a nous.

:: note :: ... greeting from Cised Paris an international student service for University Paris 8 ...