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Overend, David (2011) Underneath the Arches: Developing a Relational Theatre Practice in Response to a Specific Cultural Site

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Overend, David (2011) Underneath the Arches: Developing a Relational Theatre Practice in Response to a Specific Cultural Site Overend, David (2011) Underneath the Arches: developing a relational theatre practice in response to a specific cultural site. PhD thesis. http://theses.gla.ac.uk/2496/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Underneath the Arches: developing a relational theatre practice in response to a specific cultural site David Overend MA, MPhil Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Theatre Studies School of Culture and Creative Arts University of Glasgow, December 2010 © David Overend, 2010 Abstract This thesis applies Nicolas Bourriaud’s concept of ‘relational aesthetics’ to the development of site-specific theatre practice. Focussing on the Arches arts centre in Glasgow, the aim is to suggest ways in which a performance aesthetic can be developed that uses, makes evident and contributes to what Bourriaud describes as the ‘space of relations’ that exists within every site. Employing a practice-as-research methodology in order to develop a ‘relational theatre practice’, the performances that comprise half of this thesis aim to respond to and generate relationships not only between theatre and its ‘audience’, but through a sensitivity to site as historically, geographically, culturally and socially located. Key to this project is an understanding of the boundaries, limitations and exclusions that inevitably come to define theatre practice in a site with as many contradictory and conflicting relationships as a busy arts venue like the Arches. The findings of this research are primarily dependent on three practice-as-research projects at the venue: Underneath the Arches (January 2009), Midland Street (September 2009) and A Work on Progress (April 2010). These projects have focussed respectively on three key areas of relational theatre practice; the performance text, the theatre audience and processes of theatre production. The written part of the thesis provides an exegesis of this practice, critically reflecting on the relationships that developed through the performances. Combining a practical and theoretical approach, this research interrogates Bourriaud’s relational aesthetic model through its application to the development of theatre practice within the specific context of a cultural site. Conversely, it reveals and works with the multiple relationships of the Arches, thereby providing new knowledge about the relational processes through which a cultural site is constituted. ii Contents Acknowledgements v Introduction 1 Site, Space and Specificity 5 Relational Theatre Practice (RTP) 11 Underneath the Arches 18 Chapter One: Methodology 23 Practice-as-Research 23 The ‘Messiness’ of Practice-as-Research 32 Friendship and Time 34 Chapter Two: The Guided Tour as Relational Performance Text 37 Initial Practical Explorations (May - September 2008) 41 Underneath the Arches (January 2009) 43 Towards a Relational Performance Text 46 An Exegesis of Stuff 50 Alternative Touring Practice 54 Antagonism and RTP 58 Forming Communities 63 Conclusion 66 Chapter Three: The Clubbing Crowd as Relational Theatre Audience 69 Midland Street (September 2009) 73 Towards a Relational Theatre Audience 77 Performance and Fluctuation 77 Limitations and Antagonism 83 Conclusion 91 Chapter Four: Use and Reconfiguration as Relational Theatre Production 94 Alien Wars vs. Underneath the Arches 99 Initial Practical Explorations (March 2010) 100 A Work on Progress (April 2010) 102 Beyond Postmodernism 105 Currency and Production 110 Strategies of Use in A Work on Progress 113 Power and Resistance 118 Conclusion 119 Conclusion 122 Relational Temporality 125 Relational Spatiality 127 Relational Intervention 129 iii Appendix 132 Introduction 132 Underneath the Arches, January 2009 134 Midland Street, September 2009 160 A Work on Progress, April 2010 171 Bibliography 184 iv Acknowledgements Hundreds of people have contributed generously to this project. Although I will not attempt to mention everybody by name (mainly due to inevitability of omission), I thank you all But especially I would like to thank my supervisors, Deirdre Heddon and Minty Donald at the University of Glasgow, and Jackie Wylie at the Arches Thank you, Dee Thank you, Minty Thank you, Jackie I am also extremely grateful for the support that the Arches staff have given to this project; LJ, Rob, Jason, Niall, Andy, John, Abby and everyone else who has worked with me over the last three years, thanks Finally, many thanks to all the performers, designers, writers, dancers, artists, administrators, photographers, programmers, producers, tour guides, musicians, technicians, stage managers, painters, carpenters, researchers, film makers, clubbers and audience members who have been involved in my research at the Arches These are the relationships that made this thesis possible v Introduction This thesis is the result of a collaboration between the University of Glasgow and the Arches; a busy, multi-use cultural centre underneath seven brick railway arches that support Glasgow’s Central Station.1 The funding for this collaborative doctoral project was secured prior to my own involvement and was awarded by the Arts and Humanities Research Council in order for the two institutions to appoint a PhD candidate to undertake a practice-as-research project at the Arches. The project brief that I inherited was to develop a model by which artists can work in and with multi-use cultural venues, in order to devise performances in response to and specifically for those sites. Using my practice at the Arches as a case-study, the aim is to suggest ways in which artists working in residence at a cultural site can make work that uses, makes evident and contributes to what Nicolas Bourriaud describes as the ‘space of relations’ that exists within every site.2 The key theoretical grounding for the project is Bourriaud’s concept of ‘relational aesthetics’. Towards the end of the twentieth century, Bourriaud articulated a growing trend in contemporary art to use social relationships as a formal strategy. Rather than the object-based art of paintings and sculptures, for example, many artists were using meetings, encounters and events as the primary component of their work.3 ‘Relational’, in this sense, refers to the social dimensions of the space in which we live, and in relational aesthetics, this social realm functions both as an artistic form and as an ‘artwork venue’.4 This is an aesthetic model that aims to operate within ‘the realm of human interactions’ as opposed to ‘the assertion of an independent and private symbolic space’.5 Since its conception in the early nineties, relational aesthetics has remained a highly influential model, the principles of which Bourriaud has continued to reassert in subsequent publications.6 Stewart Martin ascribes it ‘the status of an “ism”, a name for what is new about contemporary art, and a key position in debates over art’s orientation 1 The Arches, www.thearches.co.uk (accessed 25/10/10) 2 Nicolas Bourriaud, Relational Aesthetics, Dijon: Les Presses du Réel, 2002 [1998], p.15 3 Bourriaud, 2002, p.28 4 Bourriaud, 2002, p.44 5 Bourriaud, 2002, p.14 6 For example, Nicolas Bourriaud, Postproduction: Culture as screenplay: How art reprograms the world, New York: Lukas & Sternberg, 2001; Nicolas Bourriaud, The Radicant, New York: Lukas & Sternberg, 2009c 1 and value today’.7 Nonetheless, Bourriaud’s model is informed by a well established challenge to representation in contemporary art, which can be traced to Conceptual and Minimal art, as well as the Situationists and Guy Debord’s belief that in order to escape a society determined by spectacle and separation, art must move away from representation towards community and dialogue.8 Acknowledging this legacy, and accepting that ‘interactivity is anything but a new idea’, Bourriaud proposes relational aesthetics as a considerable development of the formal experiments of the historical avant-garde.9 The argument is that the incorporation of participation and social activity has now developed from their use as ‘fashionable theoretical gadgets’ to become an aesthetic form in their own right. Bourriaud charts a cultural landscape in which the role of artworks is ‘no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real’.10 Writing after 2007, when the global population shifted ‘irrevocably’ from a rural to an urban majority,11 Bourriaud suggests that the urban landscape has become a ‘precarious, cluttered and shifting environment’, and that relationships in modern life are now defined by ‘the fragmentation of everything and everyone in a confused mass’.12 If urban life can be conceived of in this way, the ideological, cultural and political precariousness that characterises society has profound implications for the relationships that we form. For Bourriaud, ‘social life seems more fragile than ever, and the bonds that make it up seem increasingly
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