Robbie Sweeny, a brilliant San Francisco based photographer took some pictures of a TOXIC rehearsal last week. Check out his other work as well, I really like it.
http://inguttersandstars.blogspot.com/
TOXIC, of course, will premiere on June 10&11 at Garage.
Friday, April 29, 2011
Wednesday, February 2, 2011
International Home Theater Festival
This March I'll be showing new work during the International Home Theater Festival. This fine event was conceived by the Berkeley based writer and performer Philip Huang last year. Makers create an event in their own homes and invite the public to participate or witness.
What I am most excited about is the opportunity to think of a performance event in a new context. The architecture is decidedly different from a theater or studio space. There will be no built divide between audience and performers. What will that mean in terms of performing? Will I acknowledge the closeness and intimacy by peeling down layers of performative state - or will I rather go further into the realm of representation?
The intimacy of a private space that becomes semi-public space for a moment is an enticing opportunity. This will surely effect the experience for all parties. For me as a choreographer this is a chance to build a more immersive experience than in a performance space. The structures, sounds, smells, lights and knick knacks of a private home will become a part of the work and start interact with it both loaning meaning to it, and taking meaning from it.
I have no way of knowing what the audience expectations will be, but it will be interesting to experience the encounter. I'm composing audience surveys, and I find it thoroughly exciting!
Philip Huangs's idea is to empower artists to take initiative. Philip wants to set our minds free from third parties; this might mean institutions, funds and curators whose intervention is often seen elementary for the process of making and distributing art. His Home Theater Manifesto urges artists to make art in whatever circumstances they find themselves, with the resources they do have. A work of art doesn't become more worthwhile if it has been funded or produced by a third party - by someone outside the artist themselves or the immediate audience. This second year of its existence Home Theater Festival will go international. Events are scheduled to take place in Australia, Japan, North America and Europe.
http://philiphuangpresents.blogspot.com/
What I am most excited about is the opportunity to think of a performance event in a new context. The architecture is decidedly different from a theater or studio space. There will be no built divide between audience and performers. What will that mean in terms of performing? Will I acknowledge the closeness and intimacy by peeling down layers of performative state - or will I rather go further into the realm of representation?
The intimacy of a private space that becomes semi-public space for a moment is an enticing opportunity. This will surely effect the experience for all parties. For me as a choreographer this is a chance to build a more immersive experience than in a performance space. The structures, sounds, smells, lights and knick knacks of a private home will become a part of the work and start interact with it both loaning meaning to it, and taking meaning from it.
I have no way of knowing what the audience expectations will be, but it will be interesting to experience the encounter. I'm composing audience surveys, and I find it thoroughly exciting!
Philip Huangs's idea is to empower artists to take initiative. Philip wants to set our minds free from third parties; this might mean institutions, funds and curators whose intervention is often seen elementary for the process of making and distributing art. His Home Theater Manifesto urges artists to make art in whatever circumstances they find themselves, with the resources they do have. A work of art doesn't become more worthwhile if it has been funded or produced by a third party - by someone outside the artist themselves or the immediate audience. This second year of its existence Home Theater Festival will go international. Events are scheduled to take place in Australia, Japan, North America and Europe.
http://philiphuangpresents.blogspot.com/
Friday, December 10, 2010
A prettily gowned princess politely covering her screaming mouth with a lily white hand
I'm composing a piece called TOXIC with six performers. Movement and bodies are in the center of my investigation. I started asking questions about bodies in myths and fairy tales. What kind of bodies inhabit them? Are those similar to our bodies?
Can we believe in the Victorian image of a prettily gowned princess politely covering her screaming mouth with a lily white hand? Beauty, ugliness, dirt, old age, laziness and industriousness are always mentioned. People do terrifying things to each other in fairy tales and myths. Gods do awful things to humans, and to each other.
When we started workshopping with this in mind, we began with monsters. Being a creature that is one and clearly defined became the first notion to question. When we created movement from that position it became obvious upright and down low were taking on new meanings. In the Genesis of the Bible up and down, light and dark are put in order - and put in order of preference. From between the pages monsters and demons fall, drop, glide and tumble out and take cover in other books.
In that perfectly organized world grows a fruit that will always be tasted by a young woman, no matter what the warnings. She will know, she will fall down in sleep, she will cover herself, she will let down her guard and kiss.
These stories harken back to very old times: feudal times, agrarian times, pagan times. They are this old and still alive in us. I believe they are important. The narrative structures are imprinted in us.
Can we believe in the Victorian image of a prettily gowned princess politely covering her screaming mouth with a lily white hand? Beauty, ugliness, dirt, old age, laziness and industriousness are always mentioned. People do terrifying things to each other in fairy tales and myths. Gods do awful things to humans, and to each other.
When we started workshopping with this in mind, we began with monsters. Being a creature that is one and clearly defined became the first notion to question. When we created movement from that position it became obvious upright and down low were taking on new meanings. In the Genesis of the Bible up and down, light and dark are put in order - and put in order of preference. From between the pages monsters and demons fall, drop, glide and tumble out and take cover in other books.
In that perfectly organized world grows a fruit that will always be tasted by a young woman, no matter what the warnings. She will know, she will fall down in sleep, she will cover herself, she will let down her guard and kiss.
We live surrounded by narratives. My favorites are those seemingly detached from everyday life: myths, legends, fairy tales. They touch both the unnamable and the acknowledged experiences in me. I wonder how much these stories formed the very experiences through which I relate to them.
I go old school; I cherish the traditional fairytales with poor girls and fair princesses, wizened grandmothers, magical objects and golden fruit. The ones that share elements with ancient mythologies. They are gateways to shimmering, cruel worlds.
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