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Cheshire, England — 13 Comments

  1. Statement

    ethos:

    that the collaborative making, performing, & sharing of a piece can operate as
    a positive & enriching type of social & communal activity, which has at its core the
    interaction of the performers, but widens out to include relationships with the
    audience, with the space, & with the wider environment & community that the venue
    is a part of -

    the use of small, community-minded spaces rather than larger [commercial] operations; spaces hosting a multiplicity of types of activity rather than those which are more monoculture -

    the relation to the event 100 Thousand Poets for Change, working with its 2 concepts in mind: ‘peace’ & ‘sustainability’; my particular approach: not overtly/explicitly political statement, but an interpretation as follows:

    - that both ideas cannot be imposed as ‘things’, but rather that they have to be
    seeded, grown & fostered; the collaborative making & sharing process cultivates both
    ideas through the performers’ working with each other, & in performance, with the
    audience – ‘tuning’ to each other (& the audience, space, etc) to come to modes of
    working, being, sharing that are positive & useful

    - taking sustainability seriously in terms of the materials that we use:
    lisa’s materials can be found/re-used rather than newly bought; the text ‘objects’ will
    be made by using materials that would otherwise mostly be un-recyclable; & the
    sound materials will be found or re-used items.

    aesthetic:

    process:
    bringing together a range of practices: text (recorded text & text objects), live
    sound, live dance, live visual art making – existing under an umbrella of general ideas
    and direction provided by the texts & found through experimenting together, but also
    leaving each of the performers able to work with their own personal style/praxis left
    intact – a talking together, an engagement, a fluid 4-D venn diagram….

    each performance a real-time relationship between materials, performers, space, & audience, with ‘fixed’ materials (text-objects, recorded text, physical material used to make sound, physical material artist uses) variable for each performance – so no performance is ever duplication

    content:
    the observable reactive relationships are partof/are the aesthetic content – spatial, material, personal & so on

    text: recorded, spoken, & made (text objects), resonant, inviting of response

    sound: materials from environment, tactility, also any other sound in the space is sound of the piece

    dance: shaping an inner & outer space, whole body as as radiating & absorbing sensorium alive & reactive to everything

    art: delicacy of materials creating a breathing volume of space; live performance,
    aware of sound & space

    everyone (inc. audience) alive, aware, engaged, reactive

    • [file]http://www.bigbridge.org/100thousandpoetsforchange/wp-content/uploads/2011/09/tracerycards2.pdf[/file]
      [file]http://www.bigbridge.org/100thousandpoetsforchange/wp-content/uploads/2011/09/tracerycards3.pdf[/file]
      [file]http://www.bigbridge.org/100thousandpoetsforchange/wp-content/uploads/2011/09/tracerycards4.pdf[/file]

    • a note on the texts:

      all the texts appearing here are what i call ‘arrangements’ – they are made by taking public-domain works (generally prose reference works tied in in some way to the topic of the project i’m working on at the time of writing), and skim-reading them

      i note down words, pairs of words, or fragments that strike me as resonating with the work i want to make; these are then listed in columns, & i wait for the words to start talking to each other…

      eventually, certain words start to want to migrate towards certain other words, until eventually short stanzas or other types of combinations are achieved which seem to work; these are then spatialised on the page, & are considered finished

      the texts for tracery web… are part new, & part re-arrangements of existing texts (i.e. arrangements of arrangements); some are intended to be read by the performers, some will be handed to the audience in the hope that they will read them out during the performance

  2. Unfortunately, I have to write to say that, due to unforeseen circumstances, our installation artist Lisa Gorton has sadly had to pull out of the project for the time being.

    This means that we are postponing both York performances of ‘tracery web of movements tracery’ – there will be no performances on 21st & 22nd October.

    These will hopefully be rescheduled at some point in the future. The Manchester performance will still go ahead, to honour our intention of producing something as part of 100 Thousand Poets for Change, but this will not be the event advertised, but will be an improvisation between myself & dancer Jennifer-Lynn Crawford, incorporating/exploring some of the tracery… texts & ideas.

    This will be at 4pm (with open rehearsals from 2pm), Sunday 25th September, at the International Anthony Burgess Centre, Manchester (very close to Oxford Road station). The event is FREE – hope to see some of you there. see also http://www.anthonyburgess.org/ for directions etc

  3. ahead of sunday’s show, here are 2 new texts – essentially they’re ‘erosions’ of the full texts made for this piece into sound scores

    [file]http://www.bigbridge.org/100thousandpoetsforchange/wp-content/uploads/2011/09/bodiesYORKEDITerode.pdf[/file]
    [file]http://www.bigbridge.org/100thousandpoetsforchange/wp-content/uploads/2011/09/objectcardsERODE.pdf[/file]

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