Exhibits

The exhibits for my piece were diy. I wanted every object to seem homemade, so that the writing pieces as well as their physical construction had a quality of authenticity and honesty. Every piece of writing I put in the show genuinely happened to me and was written about with fact, thought, and feeling.

I wanted my structures to be made of items found in the home: bed sheets, milk bottles, paper, paint, fairy lights, mirrors, plates etc.

My canvases were either written on or had writings stuck on, only one served the purpose of being an artist’s canvas (Growing Up was an actual painting). This was because, much like the use of the positive music combined with the negative writing, I wanted to have an odd contrast. Rather than just using paper, what is normally used to write on, I wanted the opposite surface. I needed to fulfill the idea of the gallery of exhibits in order to have the outcome I was able to achieve: a distanced but understanding and reflective connection to a person standing in view unable to communicate verbally, and only communicating by writings from the past (a one way communication from performer to audience).

 

Exhibits

Performance reflection

With my social anxiety as it stands, dancing in front of an audience (no matter what size) was possibly the most terrifying thing I have ever done, especially as it could not have been rehearsed with an audience as it would have ruined the effect of improvised movement.

The tape and masses of printed writings surrounding me acted as a barrier between me in my bedroom and the audience in the gallery. Audience members were able to pick up the various pieces of writings from the barrier but were not able to pass the barrier to interact with me or my space.

Throughout the performance, audience members and I made eye contact but not direct verbal or physical contact. The headphones that the audience and I wore, enabled both parties to connect through words and sight without complete interaction. The music drowned out any verbal communication, replicated in what I do as a coping mechanism (playing happy music loudly to drown out the negativity). As well as the disassociation and disconnection from society that people with anxiety and/or depression have (I’m not speaking for everyone, just myself and a few people I know who struggle with connecting).

The music I used for the silent disco headphones was what I would usually listen to in my bedroom, the same music that would lift my mood because of the upbeat rhythms and catchy lyrics.

The exhibits were a mixture of canvases and structures. The canvases had pieces printed and written on them, and the structures were made of different things associated with content of the pieces. A piece called Expiry Date was made up of empty milk bottles hanging from strings, each bottle had a different part of the writing on and audience members were able to move/turn the bottles or move themselves to see all of the piece. When I first saw all the exhibits placed in the studio everything seemed busy, odd, and out of place, but the unique handmade pieces reflect a lot of what I have : sentimentality, creativity, weirdness/strangeness.

The feedback from audience members has been extremely helpful and heartwarming. Many audience member spent a great amount of time within the space, not only reading and interacting with the exhibitions but picking up various writings that were scattered on the floor, as well as sitting and standing around the space I was dancing in.

I have always found writing about my emotions, thoughts, problems, and opinions extremely helpful when dealing with difficult situations. Printing out all my writings and specifically exhibiting the ones that were from the most influential and damaging events on my life, brought an emotionally intense atmosphere to the room. A lot of my audience members had told me I was brave for being so open about my life and had even cried during the performance. I especially became extremely emotional when I could see my family members and close friends reading and finding out about my most vulnerable moments without them at university.

The long duration of my piece allowed for shifts in my mood and atmosphere of the room (as I had predicted), it was very easy to shift emotions, feeling alone in a crowded room of people who can’t hear one another.

Throughout the whole module I knew the basics of my solo show, hanging my creative writings and dancing to my favourite music. Influenced by a former student’s show, I wanted to feel an overwhelming sense of relief by letting out everything I have ever kept in. I wanted my final performance to be completely honest, showing myself as a student, performer, and performer. I really feel like I achieved that.

Performance reflection

Ashly Perez Dance Performance Challenge

Another influence of my performance is a video from Buzzfeed’s Ashly Perez, who challenged herself to improve her dance and performance skills in thirty days.

This video contains vlogging, rehearsal clips, and the end dance performance. throughout the thirty days, she overcame struggles with skill, stamina and health, as well as gaining new confidence and building self esteem.

In one particular part of the video, Ashly decides to put some music on and freestyle dance in front of her mirror, she feels the rhythm of the music, improvises her movement and has fun.

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The ability to just be in the moment, letting go of worries by dancing freely and singing along to music is one of my most uplifting pass-times. It has helped me get through many hardships in my life, raising my spirits and thoughts. It truly is a coping mechanism.

Ashly Perez Dance Performance Challenge

Inspiration for My Solo Piece

In first year of university I played Tulip in Simon Armitage’s Eclipse as a part of National Theatre’s Connections annual festival. A year later, the cast decided to go for drinks and see the new company’s show. During drinks some of the current students asked the alumni and rest of the cast about advice on module choices. Not completely sold on my decisions, I asked Martyn Horner-Glistner about his solo performance.

Influenced by Marina Abramovic, durational performances, and the use of technology, Martyn created an hour long autobiographical piece investigating the inner workings of his mind. Martyn used the time in his performance as a self-exploration and self-lead therapy session.

Having only two viewing points: an above window and a camera feed in a separate room, Martyn was able to symbolically change the space to represent his mind, with himself inside it, physically shutting out the audience. But still being able to react to messages and support, involving anyone and everyone, through social media.

Martyn used different sized images to represent the problems in his life and how big they were. He used these to recollect memories and explained how he needed to deal with each problem, either placing them in the bin (letting them go from his mind) or keeping them. However, he had created a safe space in the centre of the room to retreat to if he had to have a mental and physical breather.

Recommending everyone to try this process, Martyn said he found this experience exhausting but in turn extremely liberating.

So that’s what I intend to, try the process, but in my own way.

Inspiration for My Solo Piece

Artist Presentation – Simon McBurney

Simon McBurney – Director/Actor/Performer

  • Doesn’t have/use theoretical techniques. He thinks it limits imaginative creation. And rather looks at a performance as a whole rather than what elements it is made of.
  • Theatre (like most other art forms) is a magpie art form – people in theatre steal from each other, and theatre steals from other art forms.
  • Nothing new and inventive in theatre, its all been done (video and projection is just light), it’s about the story, and how you tell it, not with what you tell it with. “Everything in the theatre goes round in circles.” (McBurney, 2013).
  • The text – not specifically words that are spoken, could be an object or any kind of stimuli. Plays are not automatically theatre, it’s the basis. Its what they’re made into which makes theatre.
  • Things that can affect and influence may not be what we enjoy. “I’m fascinated by the things that I was hopeless at or that I know nothing about…I see my life as a continuous exploration of things that I don’t understand.” (McBurney, 2013).

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Complicite 1983 – now

  • Started as a comic mime troupe, one of their early shows was A Minute Too Late (1984) which was a “speechless comedy about speaking about death.”.
  • Pieces are driven by the subject, every show is different.
  • Storytelling, puppetry, physicality, and visual theatre (rather than dialogue),
  • Adaptions, originals, classics, and international pieces.
  • Tom Morris, an associate director at the National and a champion of Complicite’s work, “with a technical visual language that makes the company so extraordinary. The body of a performer becomes the imaginative trigger which releases a picture or a memory in the mind of the audience.” It is “using the bodies of the performers in a way that Shakespeare used text”.
  • https://www.youtube.com/watch?v=6mqTCoM3zd0 Show reel

Complicite Performances

  • A Dog’s Heart (2010) – puppetry and opera. Adapted from a short story about a dog medically turned into a man (and back again). https://www.youtube.com/watch?v=83Un_xrytw4
  • Shun-kin (2008) – inspired by Jun’ichiro Tanizaki’s A Portrait of Shunkinand In Praise of Shadows. Performed in Japanese with an all Japanese cast. Mime, kabuki, and puppetry. About a servant who blinds themselves because he is in love with a blind shamisen player. https://www.youtube.com/watch?v=mkouylM8qNE
  • The Vertical Line (1999) – site specific promenade, in the Strand disused tube station. Theatrical and archaeological, with audio-visual installations.
  • Food stuff (1986) – performers from different cultures eating together
  • Please, Please, Please (1986) – family Christmas dinner “where taboos are treated lightly, while unimportant details become monstrous in their implications,”. Absurd comedy.

The Encounter

https://www.youtube.com/watch?v=vKWv001zJ_Y  trailer
https://www.youtube.com/watch?v=2cxnzcsHuKM explanation
An adaptation of the book Amazon Beaming by Petru Popescu,
based on Loren McIntyre’s adventure in the Amazonian Rainforest.
https://www.youtube.com/watch?v=49xrUurfqNA BD audience opinion
Inspired by Spalding Gray’s Swimming to Cambodia
Solo performance, storytelling, consciousness, solitude,
technological immersion, imagination.
https://www.youtube.com/watch?v=HcBYj4zRY-k process part 1
https://www.youtube.com/watch?v=Ou6if25vs8E process part 2
https://www.youtube.com/watch?v=FdxcQGJ_drw process part 3

 

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Artist Presentation – Simon McBurney