Fostering Friendships - Enhancing Social Bonds in the Classroom
Contemporary Performance DFK2
1. Performance Performance Debates over the nature of the actor's presence have been at the heart of key aspects of theatre practice and theory since the late 1950s and are a vital part of the discourses surrounding avant-garde and postmodern performance. These debates explore terms essential to the theatrical event, addressing the spectator's encounter with the performer, the actor's "authenticity", "aura", "authority" and self-awareness and relationships between "live" performance and its mediation, documentation or trace. Experimental theatre's engagement with video and new media has further heightened the importance of these issues. (http://presence.stanford.edu:3455/Collaboratory/19)
47. “ LIKE THE PLAGUE THEATRE IS A CRISIS RESOLVED BY DEATH OR CURE.” ARTAUD
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57. ARTUAD WRITES WITH CONTEXT HISTORICAL:PLAGUE ANALOGUE:PAINTING SPECTACLE: BALI TRANSENDENCE:MEXICO DOUBLE: INTERNAL
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68. ARTAUD APPLIED : After the Body: Post Modern> Post Colonial Post Structuralism Discourse Theory Brook: Theatre of Cruelty Maratsade Empty Space Grotowski American Avant Garde Body Without organs What remains? Artaud applied Is Artaud betrayed
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76. SOAP (1965)Kaprow Discussed only once, then performed without rehearsal or even an audience. 1st morning: clothes dirtied by urination 1st evening: clothes washed (in the sea) (in the laundromat) 2nd morning: cars dirtied with jam on a busy street cars cleaned (in a parking lot) (in a car-wash) 2nd evening: bodies dirtied with jam bodies buried in mounds at the sea edge bodies cleaned by the tide
95. Performing for oneself We perform all the time to/for ourselves, to others, to functions, messages, and units, to things live and plastic; if the performance is an emanation of the internal then we are negotiating this all the time. We become the authority of our performance as we consciously mark and generate this internal emanation through our own desires. When we add intent to this the performance repeats, reoccurs, satisfying the degrees of accomplishment. We can perform all of this above alone, to ourselves, in private rooms, inner chambers and minds. These performances are for and to ourselves, but yet somehow they still feel un-performable or maybe inauthentic because there is no transaction validating the operation of performance and its authenticity. Exchange illuminates the authentic. An authentic performance occurs when a transaction occurs between two or more parties. The second party even if they are unaware that they are the audience, will authenticate the emanation through an unconscious exchange. This exchange might in the end produce a document that will further authenticate the exchange. The document might be a gesture or a sound like a clap or a “boo”! Documenting will validate and invalidate the aura of the performance because of the replication in the documentation. Once again the question of documentation will return the dilemma back into the fold of the inevitable question: what constitutes a performance? What is its aura? What makes it authentic? Whose authority? These questions are motivated by some concerns in making performance not only a discipline of the art/mediatized culture but how an aesthetic of performance can also be mediated as a theatrical genre. (from www.potlatch.uctblog.com)
105. UBU&TRC Play text: “Ubu and Truth Commission” Collage of text. Adaptation Multi-media: Puppetry, Actors,Film,Sound: Collusion of text as truth As post modern Ecclectic Witnessing (see William Kentridge) Performing Forgiveness A Performative Act: Vlok: Washing of feet? Public Hearings Performed Globalized suffering
106. Performing the other of you: Ubu Soho Eckstein Princess Menorah Evita Buizedenhout The myth & the figure (parodying ourselves)
