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Wmiere.Son Tadeusz Ka Women's Images Street -INTERVIEW. WMIERE.SON TADEUSZKA WOMEN'SIMAGES STREET FORKBEARDFANTASY REVIEWS LISTINGS VIDEO This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. ACTUAL MUSIC ACTUALMUSIC 80. At ICA Nash House, The Mall, London SWI. Enquiries 01-930 0493. PROGRAMME Wednesday August 27th John Russel/Roger Turner/Mike Johns. John Tchicai Saxophone Quartet (inc Andrea Goud­ beek, Francois Jeanneau, Philippe Mate) Keith Tippett. Thursday August 28th Richard Goldman & Yotande Snaith. James Newton. Irene Schweizer/Rudiger Carl/ artists nevv-sletter Maarten Van Regteren Altena. Friday August 29th A new monthly publication for artists, Company. (Derek Bailey, Georgie Born, Lind­ craftsmen and photographers. say Cooper, Evan Parker) Tristan Honsinger, Maarten Van Regteren Altena, Frank Perry. AN aims to create a dialogue between Saturday August 30th (Afternoon) Steve Lacy & Kent Carter. Maggie Nicols/ artists, artists groups, arts organisations Peter Nu/Loi Coxhill. John Stevens/Peter and funding bodies. Brotzmann/Peter Kowald. Saturday August 30th (Evening) Information on resources, awards; jobs, I.C.P. Orchestra. (inc MishaMengelberg & Han materials, galleries, workshops, visual arts Bennink) Diamanda Galas. Iskra 1903. (Paul Rutherford/Barry Guy/ Phil Wachsmann). catalogues, open exhibitions, fellow­ Sunday August 31st (Afternoon) ships . .... Alterations (Steve Beresford/Peter Cusack/ Terry Day, David Toop, Paul Burwell & Max NOW AVAILABLE Eastley. This Heat. Sunday August 31st (Evening) Annual subscription Bill Dixon/ Alan Silva/Kent Carter. Evan (12 issues) £3 Parker/Paul Lovens/Paul Ly;-ton/Alex Schlip­ penbach. Alan Tomlinson. Subscriptions to: Artie Producers, Lectures Bill Dixon, 'Black Music Aesthetics' (Saturday 17 Shakespeare Terrace, Sunderland, Tyne and Afternoon) Evan Parker 'Current Tendencies Wear, SR2 7JG. In Improvised Music' (Sunday Afternoon). ToOCT 25 BRIANCATLING RICHARDMACKNESS STEPHENCOCHRANE (with Loi Coxhill) JAYNEPARKER STEPHENDILWORTH IAINSINCLAIR DAVIDDULY ELAINESHEMILT TOMGILHESPY SUEWOOD 'Imaginationisthe venom passing slyly through the vein' SCULPTURE,DRAWING,PERFORMANCE,FILM,WRITING Events:October11 Cochrane&Coxhill performance 10·6 October16 Films by Duly,Shemilt,Parker&Sinclair OCT27-NOV 15 Keith Frake Installation October30 Performanceby Keith Frake 7pm November6 .. .. .. .. .. November20Performanceby Catherine Elwes 7pm NOV1-29 ArtsCouncil Approaches to EducationExhibitions (Partof IkonEducation 80) IKON GALLERY TEL , (021) 643 0708 This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. The Performance Magazine. 10 Fleet Rd. London NW3. JOHN CAGE AND MERCE CUNNINGHAM IN 01- 485 7476 LONDON. INTERVIEWS, REPORTS 4 Editor Rob La Frenais Review Editor Luke Dixon Design Editor Chloe Nevett CIRCUS LUMIERE 13 Associate Editors Pete Shelton Marguerite Mclaughlin Bruce Bayley STREET PERFORMANCE IN LONDON Contributors Andrea Hill AND PARIS 16 John Roberts Neil Hornick Tom Castle Paddy Fletcher WOMEN'S IMAGES IN PERFORMANCE 19 Ian Hinchliffe Charles Hustwick Silvy Panet Raymona Simon Thorne TADEUSZ KANTOR'S WIELOPOLE, Lyn McRitchie WIELOPOLE BY CRICOT 2 20 Typesetting Blue Lotus Printing Calverts North Star Press Ltd FORKBEARD FANTASY 23 Cover photo Peter Sayers Copyright© 1980 ISSN No 0144-5901 REVIEWS: CONTROLLED ATTACK, YOUTHANASIA/'PREJUDICE, ROUGH The Performance Magazine receives assistance from the MAGIC, COLOURSPACE, NFT FRINGE Arts Council of Great Britain. THEATRE FILMS. 26 LETTERS 28 VIDEO, HINCHLIFFE 29 LISTINGS 30 AUDIO ARTS sound archive of contemporary art 6 BRIARWOOD ROAD, subscription details from LONDON SW4 9PX This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. SOME WITH ·C u.r: The path of the Western Avant-Gardist may be way­ on, or to be more consistent with his recent gastronomic ward, even implausible, but John Cage is as sanguine produtions, rumbles on. It's two years since he was in and productive as ever, still battling alone against taste London to deliver his Thoreau Empty Words lecture. and tonality when pupils turned apostates have been This July with Merce Cunningham he has been holding fiddling about with harmony and periodic time for a series of interdisciplinary workshops at Goldsmiths' years. The cut-ups and indeterminate music then rattles college under the aegis of Bonnie Bird, one of the first 4 This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. dancers Cage wotked with. There have also been Silvy Panet Raymond: I see Reagan has been pushed performances at Goldsmiths' (Credo in US, Dialogue, forward. and a recital of early non-indeterminate compositions John Cage: Its very unfortunate, we're all very alarmed. including In a Landscape), Riverside Studios (Dialogue), On the other hand if he's really bad, if°we have a really Sadlers Wells (Fielding Six and Tango) and a lecture on stupid president it might help the whole social situation by Futurism and an introduction to Jean Paul Curtay's making us change it. We need a little intelligence. Lettrist poetry at the I.C.A. H ever a man has come to John Roberts: Things will be far better ifwe suffer from wear his art then Cage must be the bespoke champion. stupidity? The art is tailored to complement the man, the Cage: · So that we would be obliged to introduce intelli­ life-style: ascetic, unassuming, calm, with a joyful gence. comic glint of the absurd. JR: I don't know if the Soviet Union would see it like But this is plainly a matter of taste and taste is a that? matter of values and a hierarchy of values for Cage is Cage: I remember once when in Seattle there was an neither proper to music nor the 'multi-centredness' of earthquake, in other words not a state of human stupidity man. Cage's chance operations thus have a frustrating but a catastrophe of some kind, which wouldn't have to paradoxical nature to them: they deny taste, habit, come from the earth itself but could come from Reagan, memory in the manner of their operation but signify in (laughter ) but then people come together who formerly their wider orbit a whole realm of personal preferences had thought of themselves as separate and they try to use and feelings. All the same this doesn't in any way alter their togetherness to change things, from unfortunate to the very real liberating rejection of musical 'results' for fortunate. process which released composer and choreographer JR: .Are you still very optimistic then about the state of from narrative and psychology - or the 'boom-boom' things? school of dancing as Cage has called it. Cage's music is Cage: I'm trained to be optimistic. I have little training to not about refusing the emotions and imagination free be pessimistic. I think it would be more intelligent of me rein, but offering them a wider berth by not giving them to be pessimistic but I'm just not good at being pessimis­ expressionist cues, that is why the music is at its most tic each . day I wake up . What I've done is that in the face rewarding when its accompanying dance, when the of the news each day pessimism seems reasonable, but viewer can 'discover' accidental correspondences optimism is merely pushed into the comer, you might say between the movement and sound. It could be said of smaller groups of people . There's no reason to be pessi­ though that Cage's greatest influence has been on mistic about my friends for instance, we know how to deal artists rather than musicians: Rauschenberg, Johns, with the most miserable situations. I remember a beauti­ Fluxus etc. Cage's early work and manifestoes extended ful remark of Jasper Johns: he said 'I've been poor and I the Dadaist spirit of the homespun, the egalitarian, the know how to do that, I've been rich and I know how to do amateur; a catch-all use of materials and resources: that.' He said that in response to my warning him that 'each artist works as he sees fit'. And Cage saw fit to perhaps people might eventually lose interest in his work replace the term music with sound. There had plenty of so he ought to save a little bit of money, but he said he precedents for this, particularly Russolo and Satie, but didn't mind being poor. Cage brought to it a quirky American charm, while at SPR: Was that a reflection of your own like of his work or the same time, and of far greater importance, recog­ was that a reflection on what you could see as the reaction nising and developing the wider possibilities of inter­ from the audience? media work, which was to result in the Black Mountain Cage: No he had a tendency, and an interest, in buying experiments. The collaborations with Merce Cunning­ property here and there so I was suggesting that he not do ham - Cage and Cunningham never work together as that sort of thing . I was criticizing his lifestyle. such, but in isolation with the barest of outlines of what JR: Are you still friends with all the artists you worked the piece might be - have been influential in the with and knew in the fifties? gradual de-balleticization of dance.
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