CONTEMPORARY PERFORMANCE – BEYOND THE LIMITS Melissa Newton-Turner Zac Von Hoff.
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Transcript of CONTEMPORARY PERFORMANCE – BEYOND THE LIMITS Melissa Newton-Turner Zac Von Hoff.
CONTEMPORARY PERFORMANCE –
BEYOND THE LIMITSMelissa Newton-TurnerZac Von Hoff
THE BEGINNINGS – PRETEXT MATERIAL ‘The Island’ by Armin Greder
THE BEGINNINGS – AN ARTIST Robert Wilson
THE BEGINNINGS – DRAMATIC LANGUAGES
Conventions of Style
Ambiguity & Symbolism
Live & Mediatised Performance
Appropriation
Collaboration
Intertextuality
Hybridisation
Fragmentation
Visual Imagery
Non-Linear Narrative
Elements of Drama
LanguageContrast
Time Space
Place Focus
Relationship Symbol
Mood Tension
MovementSituation
GOING OUR SEPARATE WAYS
ZAC’S ANCHORS – THE OPEN WORK
“The reason I work as an artist is to ask questions… That is to say – what is it? Or if we know what it is that we’re doing, than there’s no reason to do it. The reason to work is to say what is it?” (Wilson)
WILSON’S QUESTIONING“Imagination is far more important than Knowledge” – Einstein
“An artist recreates history, not like a
historian, but as a poet. The artist takes the
communal ideas and associations that
surround the various gods of his or her time
and plays with them, inventing another story
for these mythic characters” (Wilson, 1993).
TO ASK WHY… How do students create text without any meaning?
CREATING THE OPEN WORK…
QUESTIONING IN PLAYS 4.48 Psychosis – Sarah Kane
Heart’s Desire – Caryl Churchill
Half and Half – Daniel Keene
What’s the matter with Mary Jane – Wendy Harmer
WHAT IS REAL?
MELISSA’S ANCHORS There is no abstract art. You must always start with something. Afterward you can remove all traces of reality. Pablo Picasso
MELISSA’S ANCHORS Sociological Context:
The Marginalised, Ostracised
& Unfairly Accused & Tried
MELISSA’S ANCHORS Artists in Residence
Ngoc Phan Peter Rasmussen
Play the truth
THE MARGINALISED, OSTRACISED & UNFAIRLY ACCUSED & TRIED IN TEXT – ‘THE LOST THING’ & ‘THE CRUCIBLE’:
THE MARGINALISED, OSTRACISED & UNFAIRLY ACCUSED & TRIED IN REALITY – DAVID HICKS & GUANTANAMO BAY:
THE MARGINALISED, OSTRACISED & UNFAIRLY ACCUSED & TRIED IN CONTEMPORARY PERFORMANCE – ‘HONOUR BOUND’:
How could Hick’s story be told through
Contemporary Performance?
Honour Bound (2006)
Co-designed and directed by Nigel Jamieson
SEEING EACH OTHER SOMEWHERE IN THE FUTURE Contemporary Performance
Presenting Task
ZAC’S PRESENTING TASK HERE TASK: During this term you have been workshopping the dramatic languages through the form and style of Contemporary Performance and examined the work of Robert Wilson.
In a group you are to devise a contemporary piece inspired by the contexts of a chosen picture book. You will be marked on your presenting skills; therefore you must demonstrate your ability to manipulate and apply the dramatic languages of the style to create specific and purposeful dramatic action and meaning. Your performance must also show a planned, rehearsed and polished performance that poses questions to an unknown audience through the communicated meaning in creation of an open work
PRESENTING TASK: SCRIPTED PERFORMANCE
How could Miller’s ‘The Crucible’ be used
as the basis of a Contemporary Performance?
There is no abstract art. You must always start with something. Afterward you can remove all traces of reality. Pablo Picasso
Considering Picasso’s quote your task in groups is to apply the dramatic languages of Contemporary Performance to an excerpt of ‘The Crucible’ and then rehearse, polish and present this excerpt to an unfamiliar audience.
The purpose of your performance is to reflect the sociological contexts explored in this unit (the marginalised, the ostracised and the unfairly accused and tried) to engage, inform and challenge your audience.
ZAC FORMING TASK – NON-PRAC DEVISING We should treat all the trivial things of life very seriously, and all the serious things of life with sincere and studied triviality.
-Oscar Wilde
TASK: During this unit you have been workshopping the dramatic languages through Contemporary Performance. You have worked extensively with the conventions of the style. We have also explored the play “The Importance of Being Earnest” and its themes of double life, inversion and deception.
A local theatre company has now approached you to create a new contemporary adaptation of the play “The Importance of Being Earnest”. You are to ‘appropriate’ the script using a variety of the contemporary conventions to engage a younger audience on this classic play and open the meaning of the work – in line with contemporary performance. The new dramatic action should challenge and empower audiences in the deception of modern man.
Using your knowledge of Contemporary Performance, you should be able to demonstrate a thorough understanding of the dramatic languages to create and shape dramatic action, convey themes, dramatic symbols and create an indeterminate meaning. Your new work may demonstrate a complete intended performance or a moment of a longer performance.
QUESTIONS