Practice at Made in Somerset 09 - continue the discussion here
These pieces were performed at Practice @ Made in Somerset.
Thank you to all those who attended – both audience and artists, and please carry on the discussion in the feedback section below.
For more on the Made in Somerset event, visit www.merlintheatre.co.uk and www.takeart.org
Switch Performance Present: Happy Myth 1
Happy Myth 1 is a completely new piece and a first-time collaboration. It is inspired by the endless circles and webs that we are all guilty of participating in as we engage in the art of gossip and rumour. Kolaczek and Singh probe and play with the natural need to talk, inspect and judge the other. They unpick and sound-out desires of self-validation, the search for contentment and the trigger-hapy adrenaline rush of secrets.
Ewelina Kolaczek: I am an emerging performance artist, experimental theatre director and curator. I am interested in memory, the large and the small ways people influence each other and the workings of personal and social preconceptions. I create potent immersive spaces for you to step into away from the everyday. I use my body, everyday objects and sensory stimuli (especially smell and touch) as tools through which both performer and audience can challenge and examine reality. I often ask you to do challenging things with and/or to me. Consenting or dissenting, you always have a choice.
Nicola Singh: I am an emerging solo and collaborative live art practitioner, musician and curator of live and performance art, and experimental theatre. With an interdisciplinary approach to performance, curatorial modes, theory and research, my practice dispenses the notional delineation between live and performance art, music and sonic art. Literary reference also features greatly in my work. Distancing the ambit between private and public, this transferable and amorphous relationship explores forms of communication and perception, as a creative process for the artist and in the investigation of the performer/audience bind. In particular reference to my musical practice, I innovate the contextual boundaries pertained to vocalists.
http://www.switchperformance.co.uk/ewelina
Sarah Ruff and Ed Currie Present: The amazing adventures of the suburban poo baby
Projected and interactive animation accompanied by live narration is exhibited posing absurd uncensored questions about the nature of existence, such as ‘what would the world be like if it was square shaped?’ and to some degree a visual revelation of the absurd consequences. The piece is cross disciplinary and exploits stand-up comedy, performance poetry, clowning, animation and other diverse forms. The questions become increasingly more absurd. The performance peeks in a Crashendo of ritualized activity. Which provoke a playful state of unity within the audience but also raise questions about time and space and the fabrics that make up our universe.
Sarah Ruff: graduated from Dartington college of Arts in 2008 with a first class degree in Theatre and has been making and showing work for one year in venues such as B.A.C. Southwark Playhouse, Camden People’s Theatre, Stoke Newington International Airport, and The Whitechapel Art gallery. Her work is cross-disciplinary and explores the space between art and entertainment. She has worked in stand-up comedy for three years and was selected for the semi finals of ‘so you think your funny awards’. I also produce Live Art installations and I am interested in subversive and interactive experiences.
Ed Currie: I am interested in the relationship between moving image and sound and it’s dialogue in Live Performance. I graduated from Dartington College of arts in 2008 with a degree in Music composition with Digital ARTS. I have been working as a freelance technician and editor for the last year and in collaboration with Sarah Ruff as a sound designer and director of animation.
Gyroscopic Physical Theatre Present: ‘INSIGHT’ (aka “Better Eyesight Without Glasses”)
Our subject matter – ‘better eyesight’ evoked a lot of visual images while we were working. We added these images to the piece. Our focus then led to the deeper concept of ‘insight’, or finding the inner vision, the momentum, of the piece and this gave us the title.
Kathleen Downie, stilt artist, joins [physical theatre artists] David Stevens and Gregory Champion for ‘INSIGHT’, a new performance piece by Judith Jarvis.
Judith Jarvis: I teach workshops with the belief that outstanding results can be achieved by dancers of all ages and levels. As a late starter in dance I realise only too well that dance can be difficult and intimidating. I try and encourage people to enjoy themselves, work together and aim for improvement over perfection. My experience is that this, when supported by good choreography, musicality, timing and attention to performance skills, will result in a dance piece that engages its audience. Such are the points that I emphasise in my workshops.
David and Greg in ‘Timelines’ – A piece choreographed by Judith Jarvis and commissioned by UNESCO in conjunction with Bristol City Council for Slavery Remembrance Day 2008.
Martin O’Brien Presents: Repetitive Strain Syndrome
Repetitive Strain Syndrome is a thoughtful, some times challenging and often humorous exploration and revealing of the absurdity, beauty and vulnerability of the human body by exposing it at a moment of extremity, during the act of intense physical activity.
Martin O’Brien: My work revolves around physical endurance in performance, exploring its impact on the body using choreographed movement as a way of mapping out the effects as well as causing them. I engage with the notion of physical activity inviting a sense of transportation in consciousness, drawing on Western endurance performance art as well as on endurance practice around tribal ritual and worship. The performances aim to enable a shared individual experience between the performer and audience.
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Really enjoyed the great range of work at Practice last night – thanks to all those who performed and joined the discussion afterwards.
I was interested by the way we shaped and positioned ourselves as an audience over the evening: up close to Repetitive Strain Syndrome to begin with, but by the end only viewing from a distance and the edges; in a circle around Happy Myth 1 and wondering whether movement or stillness from the audience suited it best (we chose stillness); and where we decided to sit in the Merlin Theatre for the other 2 pieces and the discussion afterwards.
The decisions we made about where and how to be in the space felt particularly relevant within the whole Practice audience/artist debate.
Many thanks to Dominic and Mike for staging an event that was experimental at its heart rather than just “experimental” by name. I believe we all need to keep trying out new ideas in the university of life, long after we leave college and forums that allow us to do this are all too rare. It was good to speak with you afterwards too, Dominic. Once again, many thanks for your support.
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Thanks for the event. A really diverse mix of interesting work.
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