Location and performance
Páginas: 14 (3478 palabras)
Publicado: 30 de noviembre de 2011
LOCATION AND PERFORMANCE
Julian Fuentes.
MA Theatre Practices.
Semester 2. Performance Aesthetics.
Index.
1. Introduction.
Location and Performance.
2. The realm of the real.
Space/emotion relations with present location.
3. The realm of the virtual.
Space/emotion relations with the absent location.
4.Conclusion. A list of questions.
BIBLIOGRAPHY.
1. Introduction. Location and performance.
Location and performance[1] are the two basic tools that any performer of any kind have in his advantage or disadvantage from the very first moment. We can say that the performance is always contextualized by the location and the location is contextualized by the performance, but we can also addthat the performance can de-contextualize the location and the location can destroy the performance. We can carry on making an enumeration of all possible ways in which location and performance can interact, but it will be long and, although very interesting, too long for the present paper. As a possible way of resuming it: location and performance are as linked as flesh and bones in a humanbody. It’s simply impossible perform in a non-existent space and a non-existent body can’t make any performance at all. This fact that seems simple and quite obvious at first sight is the actual touchstone that engages theatre, dance, performance art, media, film, painting, writing and any art form. Trough this paper we would like to make a brief comment about the ways in which this touchstoneoperates in the work of several performance practitioners, and also stand up a list questions about the ways in which the traditional theatre space/action can be re-questioned by the influence of performance art and the new uses of technological media.
2. The realm of the real.
Space/emotion relations with present location.
‘What ever happened to this room?
It used to be so goodBut now the days pile on the floor
And rain leaks through the crepe paper
We stuck on the door
No more pictures on the wall
What ever happened to this room?’
(Eskimo Joe, ‘This room’ from the album ‘A song is a city’)
We would like to begin getting across a very simple idea, supported by the quotation of the lyrics of the song of Eskimo Joe. We have included thisquote perfectly conscious that the ‘rock and roll poetry’ is, in many senses one of the most commercial art forms present in our daily live. The mainstream devours thousands of songs like that one trough radio, CDs, video clips, posters and clothing. We can contextualize then that the art form we have exposed above is a popular art form expression. Then we made a simple analysis of this song and wefound quite obviously that the link between feeling and location is the spine of the lyrics, and it is placed in a very commercial and popular art form. In other words: this band sells albums in part because their lyrics successfully affect the ones who hear them. Therefore this notion of emotional association between ‘feeling’ and ‘location’ is then essentially embodied in the way we perceiveboth space and emotion.
We have proved then that the space it’s never empty of emotion, and the emotion is never un-liked from the space. We can also add that the appreciation of that is not restricted to any kind of ‘artistic elite’. Is present in the mainstream, in the way that every one of us perceives and interacts with the space.
We would like now to offer another example of this verysame thing in a more ‘refined’ art expression, trough the transcription of the document ‘spatial poem n.5’
SPATIAL POEM NO.5
Open Event
Open something that is closed.
Please describe to me how you did it and what happened by your performance.
Your reports will be recorded on the world map.
*Performance period July 15, Aug. 5, 1972
*Reports should preferably be written in English...
Julian Fuentes.
MA Theatre Practices.
Semester 2. Performance Aesthetics.
Index.
1. Introduction.
Location and Performance.
2. The realm of the real.
Space/emotion relations with present location.
3. The realm of the virtual.
Space/emotion relations with the absent location.
4.Conclusion. A list of questions.
BIBLIOGRAPHY.
1. Introduction. Location and performance.
Location and performance[1] are the two basic tools that any performer of any kind have in his advantage or disadvantage from the very first moment. We can say that the performance is always contextualized by the location and the location is contextualized by the performance, but we can also addthat the performance can de-contextualize the location and the location can destroy the performance. We can carry on making an enumeration of all possible ways in which location and performance can interact, but it will be long and, although very interesting, too long for the present paper. As a possible way of resuming it: location and performance are as linked as flesh and bones in a humanbody. It’s simply impossible perform in a non-existent space and a non-existent body can’t make any performance at all. This fact that seems simple and quite obvious at first sight is the actual touchstone that engages theatre, dance, performance art, media, film, painting, writing and any art form. Trough this paper we would like to make a brief comment about the ways in which this touchstoneoperates in the work of several performance practitioners, and also stand up a list questions about the ways in which the traditional theatre space/action can be re-questioned by the influence of performance art and the new uses of technological media.
2. The realm of the real.
Space/emotion relations with present location.
‘What ever happened to this room?
It used to be so goodBut now the days pile on the floor
And rain leaks through the crepe paper
We stuck on the door
No more pictures on the wall
What ever happened to this room?’
(Eskimo Joe, ‘This room’ from the album ‘A song is a city’)
We would like to begin getting across a very simple idea, supported by the quotation of the lyrics of the song of Eskimo Joe. We have included thisquote perfectly conscious that the ‘rock and roll poetry’ is, in many senses one of the most commercial art forms present in our daily live. The mainstream devours thousands of songs like that one trough radio, CDs, video clips, posters and clothing. We can contextualize then that the art form we have exposed above is a popular art form expression. Then we made a simple analysis of this song and wefound quite obviously that the link between feeling and location is the spine of the lyrics, and it is placed in a very commercial and popular art form. In other words: this band sells albums in part because their lyrics successfully affect the ones who hear them. Therefore this notion of emotional association between ‘feeling’ and ‘location’ is then essentially embodied in the way we perceiveboth space and emotion.
We have proved then that the space it’s never empty of emotion, and the emotion is never un-liked from the space. We can also add that the appreciation of that is not restricted to any kind of ‘artistic elite’. Is present in the mainstream, in the way that every one of us perceives and interacts with the space.
We would like now to offer another example of this verysame thing in a more ‘refined’ art expression, trough the transcription of the document ‘spatial poem n.5’
SPATIAL POEM NO.5
Open Event
Open something that is closed.
Please describe to me how you did it and what happened by your performance.
Your reports will be recorded on the world map.
*Performance period July 15, Aug. 5, 1972
*Reports should preferably be written in English...
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