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Exercises in Constraint: the Poetics of the Oulipo in Performance

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Exercises in Constraint: the Poetics of the Oulipo in Performance Exercises in Constraint: The Poetics of the OuLiPo in Performance Oliver Pierre Bray Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries September 2018 1 Intellectual Property and Publication Statements The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Oliver Pierre Bray to be identified as Author of this work has been asserted by Oliver Pierre Bray in accordance with the Copyright, Designs and Patents Act 1988. 2 Acknowledgements I must give special thanks to my extraordinary supervisors: Dr Tony Gardner for so willingly contributing his astonishing mind, for giving me the confidence to start and sustain such a rewarding journey, and for sharing my passion for all that is playfully constrained and French; and Professor Jonathan Pitches for his robust warmth, his acute ability to spot the luminously unforeseen, and his exceptional capacity for generosity. I thank them both for what now adds up to a great many years of guidance, support and mentorship. I am indebted to the many collaborators, performers and curators who have given their bounteous time and energy to help bring the performance projects of this study to fruition. I am grateful to the School of Performance and Cultural Industries at the University of Leeds for hosting this learning journey, and the School of Film, Music and Performing Arts at Leeds Beckett University for sponsoring it. I thank the many significant figures in my life for nurturing my curiosity for performance, literature and that which might be arbitrarily constrained; my mother, Izzy Rider for her unbending and stalwart support; and lastly, my wife Dr Jenny Lawson for her wisdom, reassurance and for never failing to be there for me. For my son Clement, the most liberating constraint of them all. 3 Abstract The OuLiPo (the Ouvroir de Littérature Potentielle, which roughly translates as the Workshop for Potential Literature) is a French writing group that has been generating literature under self-imposed constraints since 1960. In this thesis I investigate how the poetics of the Oulipo can be used to service the creation of contemporary performance work. In turn, this investigation seeks to use the lens of contemporary performance practice to illuminate the philosophies and characteristics of the Oulipo. The poetics of the Oulipo comprise highly practical methodology of both conceptual consideration of potential and the application of generative constraint in literature. To best approach the back-and-forth reflection of performance practice and the Oulipo through the consideration of the group’s poetics, this investigation is necessarily practice-led. I have undertaken three performance projects, each profiled in a professional context, to investigate the possibilities of oulipian poetics in contemporary performance practice. A combination of scholarly, comparative and practice-led research has been used to demonstrate how the poetics of the Oulipo might inform performance making strategies. In the first project, oulipian poetics produce a set of working constraints to be used in the devising practices of performance making. The second project demonstrates that constraints can be deployed in the formal treatment of an existing playtext towards the creation of a total theatrical work. The third project presents an improvisational training model that enables the performer to operate under constraint in the live moment of material generation and performance. Throughout this thesis the practice-led enquiry presents opportunities to reflect upon the Oulipo’s rich artistic history, their paradoxically serious and playful poetics and finally how their one exception to the law of constraint, the clinamen, may unexpectedly be positioned as the group’s most significant constraint of all. 4 Contents Intellectual Property and Publication Statements ..................................................2 Acknowledgements ...............................................................................................3 Abstract ................................................................................................................4 Contents ...............................................................................................................5 Table of Figures ....................................................................................................7 INTRODUCTION ............................................................................................ 8 The OuLiPo ..........................................................................................................8 Research Questions & Methodology ...................................................................12 The Oulipo in Performance .................................................................................17 Constraint in Contemporary Performance Practice .............................................21 Literary Examples ...............................................................................................28 Currency .............................................................................................................30 CRÉATION & RUMINATION: PROJECT 1 ................................................. 32 Defining Constraint & Potential ...........................................................................33 Analysis & Synthesis...........................................................................................35 Generating Constraints .......................................................................................38 Practice Documentation, Project 1 ................................................................. 41 A Note on Michael Kirby .....................................................................................42 Green Eggs & Ham .............................................................................................44 An Oulipian Agenda ............................................................................................48 Le Collège de Pataphysique ...............................................................................50 Reflection in Action .............................................................................................55 Constraint Visibility & Revelation ........................................................................58 A Moment of Reflection .......................................................................................62 CRÉATION & RUMINATION: PROJECT 2 ................................................. 64 The Descent of Inspiration ..................................................................................64 The Misconception of Chance .............................................................................68 From Light to ‘ard ................................................................................................69 On Long ..............................................................................................................70 On Demand ........................................................................................................71 On Expectation ...................................................................................................73 Towards a Theatre of Constraint .........................................................................75 Constraint Visibility & Revelation ........................................................................77 Constraints and Rules.........................................................................................83 Constraint & Formal Tendency ...........................................................................86 Practice Documentation, Project 2 ............................................................... 100 Changing Enemies ........................................................................................... 101 A Moment of Reflection ..................................................................................... 102 5 CRÉATION & RUMINATION: PROJECT 3 ............................................... 104 Ludics, Earnestness & Play .............................................................................. 106 On Time & Space ............................................................................................. 117 The Clinamen Performer ................................................................................... 120 Constraint Visibility and Emergence .................................................................. 128 Practice Documentation, Project 3 ............................................................... 132 A Final Note on Emergence .............................................................................. 133 Misprision ......................................................................................................... 133 Combinations and multiplicity ............................................................................ 137 Constraints in Action ......................................................................................... 139 A Moment of Reflection ..................................................................................... 143 CONCLUSION ..........................................................................................
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