Title Substitutive Bodies and Constructed Actors: a Practice-Based Investigation of Animation As Performance Type Thesis URL

Title Substitutive bodies and constructed actors: a practice-based investigation of animation as performance Type Thesis URL http://ualresearchonline.arts.ac.uk/3437/ Date 2012 Citation Hosea, Birgitta (2012) Substitutive bodies and constructed actors: a practice-based investigation of animation as performance. PhD thesis, University of the Arts London. Creators Hosea, Birgitta

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Unless otherwise stated, copyright owned by the author Substitutive bodies and constructed actors: a practice-based investigation of animation as performance

Birgitta Hosea

Thesis submitted in fulfillment of the requirements of the University of the Arts London for the degree of Doctor of Philosophy

February 2011 Abstract F Abstract tion design, fine art, danceandtheatre.tion design,fineart, practitioners whoseworkcombinesanimationwithanintermedial mixture ofinterac contextualised byareview ofhistoricalpracticeandinterviewswithkeycontemporary binary oppositionbetweenthatwhichisliveasopposedtoanimated.It another andtestrelationships toproblematise betweenanimationandperformance a twining, interdisciplinary, post-animationpraxiswhere theoryandpracticeinformone events are documentedthrough videoandstillimages.Theworkrepresents aninter cess onwhichthetextcriticallyreflects. Duetotheirsite-specificapproach, theselive received anddecoded. tion asamessagethatisencodedandproduced, delivered andplayedback,then ing thisargument, eachchapterisstructured around the framing deviceofanima character animation and to propose In elaborat animation as a form of performance. in ‘catch-all’ definitionofanimation,butrathertoexaminethesiteperformance Its scope is neither to coverall possible types of animation nor toputforward anew rather than in terms of technology or material process.the context of performance, pline. relatively newbranchofacademicenquirythatisestablishingitselfasadisci and re-imaginingofanimation,suchastheemergenceAnimationStudies,a academic interestinthefieldhasalsocontributedtothisre-conceptualisation brought aboutbytheintroductionofdigitaltechnology.Increasingartisticand The PhD includes a portfolio of projects undertaken as part oftheresearch ofprojects aspart The PhDincludesaportfolio undertaken pro This research (documentation of liveevents and thesis)examines animation in undamental understandingsofwhatanimationactually ing inthefaceofmaterialchangestoproductionanddistributionmethods is havebeenchang i ------Acknowledgments B the soundtrackto mance Committee;OliverGingrichofMusionSystems;AlistairNewtonforcomposing LondonInterdisciplinarymy Dean,JonathanBarratt;theUniversityofArts Perfor Kevin Rowe and Kimmo Moyyky and - Steve Roberts, course at Central Saint Martins row practice-basedseminargroup; mycolleaguesontheMACharacterAnimation DrawingCollective)andthoseotherswhoattendedtheHerePerformance Tomor group,I collaborateintheartists’ formerlyknownasDrawnTogether (nowrenamed fellow PhDstudents-Maryclare Foá,JaneGrisewoodandCaraliMcCall,withwhom -SusanTrangmar,staff KatyDeepwell,Andrew McGettiganandJanetMcDonnell;my fromI am most grateful. I have also had support other members of CSM research ance ofmysupervisoryteam-VladimirMirodan, PaulSermonandWells towhom with Bibliography). Acknowledgments son andmyparents, Jim andBarbro Hosea,whoallkeptmegoing. houses andlastly, butnotleast,mynearest anddearest -AnnePietsch,SandraLoui formance withmeatconferences, screenings andinthedarkenedcornersofpublic numerous tomention whoshared animationandper theirenthusiasm fordigitalart, everyone from USCandCSMwhocontributedanimationclipstomy Mann, whofacilitatedmyartist-in-residency attheUniversityofSouthernCalifornia; Summer School;CandaceReckinger, MikePatterson,KathySmith,Tom SitoandLisa Home withMrandMrsSmith whohasadvised meonActionScripinginFlashandcollaborated Matt Wicks, their software through their Freelancer and Adobe Education Leader programmes; who agreed in toparticipate who, despitebeingbusy, allagreed tobeinterviewed about theirpractice;everyone lation; Margie Medlin,Howard Read, Liz Walker, NicolaSchauermanandTimPickup This research wouldnothavebeenpossiblewithouttheencouragementandguid and itsdefaultreferencingtemplateforChicagoManualofStyle(FullNote ibliographic data was compiled throughtheuse of the Firefox plug-in Zotero White Lines ; AngieTaylor; Forkbeard Fantasyfortheirinspirational Lunch withMissSmith ; everyone at Adobe, who have supported myuseof ; everyoneatAdobe,whohavesupported ; allthoseotherkindsoulstoo Chatter instal

At ii ------Table of contents 2. Production: Theanimatorasperformer 1. Animation as performance: Research context 1. Animationasperformance: Acknowledgments Abstract Table ofcontents 3. Run-time:Animationplayback 2.2 The performative animator: 2.2 Theperformative 2.1 Introduction 1.6 Conclusion:animationvs.performance 1.5 Theontologyofperformance 1.4 Theontologyofanimation 1.3 Methods 1.1 Introduction 1.2 Research questions, aimsandobjectives 3.3 Theoriesofliveness 2009) 2.6 Performing animatedpresence:2.6 Performing 2.5 Theanimatorasauthor 2.3 Historical overview of performance techniques usedinanimation 2.3 Historicaloverviewofperformance 2.4 AnimationTheatre: 2.8 Conclusion 2.7 Presence andtheanimatedperformer 10) 3.2 Synchronous animation: 3.1 Introduction ...... Soiled ...... At HomewithMrandMrsSmith (FaultyOptic,2003-7) ...... Dog Betty ...... Out There intheDark ...... (Birgitta Hosea,2007) ...... (Birgitta Hosea,2008- (Birgitta Hosea, ......

35 24 11 33 92 95 67 61 36 39 80 74 87 91 iii 5 3 1 ii i Table of contents Appendices 6. Portfolio 5. Conclusion:Animationasperformance 8. ListofWorks 7. References 4. Reception: The performative viewer 4. Reception:Theperformative 8.3 DVDContents Appendix I. 7.2 Filmography 3.5 Performing animationlive: 3.5 Performing 3.4 Improvisation andthedatabase: 6.2 DVDInsert 6.1 StillImages 8.2 Portfolio StillImages 8.2 Portfolio 8.1 ThesisIllustrations 7.1 Bibliography 4.5 Conclusion 3.6 Conclusion 4.2 Choreographing theviewer: 4.4 The performative viewerinpractice: 4.4 Theperformative viewer 4.3 Theorisingtheperformative 4.1 Introduction 2010) Appendix IA...... At HomewithMrandMrsSmith ...... Script ...... Quartet BecomingStarfish Little Howard (Margie Medlin,2007) ...... Lunch withMissSmith ...... (Howard Read) (GeneticMoo,2006) ...... (Birgitta Hosea, ...... 159 232 229 157 204 218 107 203 171 222 113 234 145 129 130 145 126 iv Table of contents Appendix II.LunchwithMissSmith Appendix IV. Listofpublications Appendix III.CaseStudyinterviewtranscripts...... onDVD III.E Residencies Appendix II.AMissSmithProfile Appendix II.B DVD Appendix IBLogofaudiencetextchatparticipation...... on III.D Exhibitions III.C Conference papers(unpublished) III.B Academicjournals(joint-authored) III.A Academicjournals(single-authored) Appendix II.C Participant informationsheetfor Appendix II.CParticipant Appendix II.D Participant consentform Appendix II.DParticipant Appendix II.E P Lunch withMissSmith articipant interviewtranscripts...... onDVD articipant ...... Script ...... for ...... Lunch withMissSmith Lunch withMissSmith ...... 259 257 245 245 256 256 256 256 254 247 252 v 1. Animation as performance: Research context 1907 Edward Gordon Craig a death-likebeautywhileexhalinglivingspirit.” not be the flesh and blood but rather the body in trance - it will aim to clothe itself with ”The über-marionettewillnot compete withlife - ratheritwill go beyondit.Its ideal will Edward Gordon Craig,“TheActorandtheÜber-marionette,”in 1 mance Reader, ed. Michael Huxley and Noel Witts (London:Routledge,2002),161. ed.MichaelHuxleyandNoelWitts 1 The Twentieth CenturyPerfor- vi 1. Animation as performance: Research context T struck me,“butthisisan ture marks that it broke. Transfixed by the moving circles in front of my eyes, it tions gradually fill the screen,until the filmstrip became so weakened by punc his hands. I watchedthedancingwhite circles of light that resulted from his ac black void.Amanbeganpunchingholesintothefilmstripasitpassedthrough continuously ranthroughtheprojector,allthatcouldbeseenonscreenwasa unexposed loop of black film suspended from the ceiling by two 100 feet spools 1.1 Introduction Research1. Animationasperformance: context performance, and theliveevent.Ihad just witnessedTakahito Iimura’s recreation of his 1982 paradigm shiftthatIhadjustexperiencedinmythinkingaboutanimation,film of thefilm.Iputtheminmypocket.Thatwasallcoulddotokeephold the floorforscatteredblackcirclesofcelluloidthathadbeenpunchedout ics and animation. With thisexperienceofhavingworkedacrossics andanimation.With different disciplines, inspired studyandanewcareer metotakeupfurther indigitalmedia,motiongraph whichwasrunbyaformermemberoftheLondonFilmMakersCo-op.This Fine Art, in theatre, TV, filmandpoppromos. Inthemid-90sIdidacourse in Computing and before movingonto a career direction working inart anddesignforperformance, co-operative, experimented withphotography and VHSvideo sang inapunkband pet Centre. Asastudent,Iactedinfringeproductions, establishedawomen’s theatre Studies andthenTheatre Design,includingworkshopsattheScottishMaskandPup- came animmigranttothedigitalenvironment. IstudiedDrama,FilmandTelevision digital practitionersofmygeneration,Iwastrainedinanaloguemediaandthenbe from thejourneyingthatIhavedonebetweendisciplines.Incommon withmanyother not recordtheexactdate. My interest hasresulted intheconnectionsbetweenanimationandperformance expectation. Itbeganwithawhirrastheprojectorwasswitchedon.Asan he roomwascoldandwesatonthefloor,ratheruncomfortably,inhushed Circle andSquare, animation at theLuxCentreinLondonaround2004.Idid that Iamwatching!”Afterwards,reachedon 1.1 Introduction 1 - - - - 1. Animation as performance: Research context they are usedinthistext. the research as questions. It will also define the terms ‘animation’ and ‘performance’ of thestudy, themethodsofinvestigationthatwere employedandthecontextbehind to identifyanarea ofpracticethatspans‘animation’and‘performance’. have workedin,toexplore theoretical conceptsthrough interdisciplinary practiceand worlds. This research represents my desire to synthesise these different areas that I language ofmore than onedisciplineandsoisabletojourneybetweendifferent ments, Ihaveoftenfeltlikeaninterpreter whoisabletospeakthespecific,technical as well as having been employed in both commercial, and academic environ fine art This chapter willintroduce the background tothe research: the purpose and scope 1.1 Introduction 2 - 1. Animation as performance: Research context F in characteranimation,whichraisesthefollowingresearchquestions: these factors,Iproposetofocusonaconsiderationofthesiteperformance of attemptingtocomeupwithanewdefinitionanimationthatcanreconcile dant inthecontextoftheserapidlychangingtechnologicalprocesses.Instead ing obsolete the Traditional next. definitions of animation have become redun in certain computer programs dominating the market one year and then becom ing at an exponential rate. The competitive nature of the software market results of visual culture. The technologyusedto create animation is evolving and chang dium ofanimationnowtakesmanydifferentformsandhaspermeatedthewhole 1.2 Research questions,aimsandobjectives following questions: ephemerality. leadstothe Contrastingtheseviewsofanimationand performance other hand,hasthepotentialforimprovisation, spontaneity, unpredictable outcomes, tion isusuallypredictably reproduced onthe inaviewingsituation.Liveperformance, through theopticalillusionknownas‘persistenceofvision’.Oncecreated, theanima manipulation, whichwhenplayedbacksequentiallygivestheimpression ofmovement tion isconventionallyseenasalaborious,highly-plannedmediumofframe-by-frame Furthermore, Iwillconsidertheviewingcontextandmethodofdelivery. Anima special effectsforblockbustermovies:animationiseverywhere.Theme rom theInternetandmobilephonestotelevisioncommercials,games achieved inpracticewiththeuseofdigitaltechnologies? Howcouldthisbe oflive,spontaneous,embodiedperformance? be part ‘live’ and‘animated’?Coulditbepossibleforananimated characterto Whatkindsofliminalpracticeblurtheboundariesbetween performance? Is there afundamental, ontological difference between animationandlive created through interactionwithadatabase? done by the viewer? Could a character be character? Or is the performing byproxy? Does theanimatorperform Couldapersonbecome acartoon Where doesacharacterexist?Isittheanimatedthatperforms? 1.2 Research questions,aimsandobjectives 3 ------1. Animation as performance: Research context •฀ •฀ •฀ and totestthrough practicethefollowinghypotheses: •฀ •฀ •฀ Thus, thisresearch aimsto: that viewing animation is a performative act. that viewinganimationisaperformative that animationcouldbelive; that theanimatorisaperformer; examine hybridpracticewhichhaselementsofboth; mance; analyse areas ofcommonalityanddifference betweenanimationandliveperfor deconstruct preconceived definitionsofanimation; 1.2 Research questions,aimsandobjectives 4 - 1. Animation as performance: Research context M research: from eventsthatcouldnotallbecovered aseriesofintertwined bythescopeofthis resultsmy experience that which we call ‘animation’ (and that we call ‘performance’) I haveused‘production’, ‘delivery’and‘reception’ asaframingdevice.Indeed,in 1.3 Themethods and puttheoreticalwordsintoaction.Iconsiderthisaformof I experimentboth ture inconstantdialoguewiththematerialprocessofmaking.Asapractitioner, I havecreatedpractice that testskey theoretical conceptsandreviewed litera however, adoptsapractice-basedmethodologyforgainingevidence,inwhich essay, piece ofwork. at throughtheprocessofmakingaswellbeingembeddedinresultant for knowledge.Ideasaremademanifestandtestedout.Knowledge is arrived theory andpracticearenotinbinaryopposition,butformoneholisticsearch each informedbyahistorical,economic,culturalandsocialcontext. innate, butaprocess inwhichtheactofinscriptionand the act of interpretation are decoded whenitisreceived. static entity, butamessagethatisactivelyencodedwhen itisproduced andactively 2 Williams, Williams, 1 Ibid.,53. 4 3 Thornham, SecondEdition.(Edinburgh: Edinburgh UniversityPress, 1999),51-61. The structure ofmyoverallapproach Hall’s wasshapedbyculturaltheoristStuart 2. the use of particular materials,toolsandtechniques; 2. the useofparticular 1. an originalcreative intent; Stuart Hall,“Encoding/Decoding,”in Stuart I am using the term praxis in the Marxist senseasopposed totheoriginalGreek.I amusingthetermpraxisinMarxist cf.Raymond Ibid., 52. Encoding /Decoding, spective, informedbythewriter’sexperienceasaviewer.Thisresearch, uch of the literature on animation is written from a purely theoretical per Keywords (London:FontanaPress, 1988),318. with doingand 2 3 whichpresents thenotionthatapieceofmediaisnot With thisHallimpliesthatmeaningisnotinherent With or through Media Studies:AReader doing,trytomake 1.3 Themethods , ed.PaulMarrisandSue what if… praxis 4 Consequently, 1 inwhich happen 5 - - 1. Animation as performance: Research context in whichitisdelivered andtheviewerofanimation. relationship betweentheauthorofanimation,workanimationitself,manner research and,therefore, Ichosetofocusonthearea inthecentre ofthediagram: cultural andsocialfactors. tion andreception are shownasexternallyinfluencedbywiderhistorical,economic, perceived by an individual through form of delivery medium. Both produc aparticular The practiceisdepictedatthecentre, produced byanact ofcreative intentandthen the study of animation that could have resulted from these different perspectives. For practicalreasons, Icouldnotcovertheimplicationsofallthesewithin In thefollowingdiagram,Ihavetriedtosummarise a number of approaches to 6. an individualactofperception. 5. 4. a mediumofdistribution; 3. a historically, economically, culturallyandsociallydeterminedsiteofreception; economic, culturalandsocialfactors; production processes andcommissioningpoliciesthatresult from historical, 1.3 Themethods 6 -

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7 h y? 1. Animation as performance: Research context photographs, designsandscripts.Iconsiderfourofthemingreater detail-the of practicality, theyare documentedasvideorecordings onDVDorintheformofstill tion couldbe.Theprojects Icreated were live,site-specificevents,henceforreasons with themethodologybehindpractice,inwhichIaimtoimaginewhatelseanima film. This aligns my aim of going beyond preconceivedshort definitions of animation mation conceptually: to deconstruct it, rather than creating it in the classic form of the animation processes, animated characters andanimation technology toexamine ani I considertheapproach thatItooktopracticebeoneofpost-animationasuse viewer.live and to explore animator and the performative the idea of the performative arangeofprojectsundertook inorder totryandworkoutwhetheranimationcouldbe as a research Using performance works that invite the viewer to perform. method, I or in creating artist) interactive myself (as animator or performance of performance As aresearcher, Ihavebeeninterested observation,inbeing inparticipant mation from multiple discourses:asproducer, performer, viewer, teacherandcritic. Miss Smith Betty dialogue withthekeytheoretical concernsofthisenquiryandadditionallytoinvolve: ria thatIsetfortheresearch. Thesecriteriaare principally:thattheworkhadtobein from theresearch questionsbutdidnotcorrespond sodirectly withthespecificcrite Performing animatedpresencePerforming Theseprojects are covered inthetext 1 performative viewerinpractice performative My overallapproach isbasedinpractice,whichfacilitatesanexaminationofani . ‘Liveness’asdefinedby: 2. 1. Series, nology, (therefore ‘pure’ puppetryisnotconsidered); An animatedcharacterthatismediatedthrough aformofscreen-based tech 1 , butwillalsomentionmore brieflyinpassingotherprojects thatarose •฀ •฀ •฀ Out There MrandMrsSmith intheDark,AtHomeWith The viewerisabletosenseherownproximity through herpotential dictability, spontaneityorimprovisation; Involves thefrissonofunexpected:apossibilityeither unpre Takes place‘now’,inthepresent, in‘real-time’ at‘run-time’; onpage145. on page74, 3.2 Synchronous animation 2.2 The performative animator 2.2 Theperformative 1.3 Themethods on page 92 on page36, and and 4.4 The Lunch with 2.6 in thesite Dog 8 ------1. Animation as performance: Research context work in digital art lematic toevaluate. piece are drawn from different disciplines: Faulty Optic is a theatre company case studiesare basedoninterviewsandmyowndirect experienceofthework.They andareperformance inaccord withtheresearch criteriadescribedabove.These of workfrom practitionerswhotranscendtheboundariesbetweenanimationand ters Iwillpresent areview ofliterature andpractice thatincludesfourcasestudies events, seminarsandconferences. tions andanswersthatresulted from thedisseminationandexhibitionofworkat video-cuedrecall;of participation; semi-structured interviewsanddiscussions,ques supervisors; anonymouswrittencommentsingalleryguestbooks;videorecordings been explored: informalconversationwithpeers;commentsonYou Tube; reviews by developmentofthework.Variouson andfurther avenuesforcollectingfeedbackhave seminated forfeedback.Inaniterativeprocess, thisfeedbacktheninformsreflection research process, prototypes forprojects are developed,testedoutonpeersanddis as bothacreator ofmyownworkandaspectatortheotherpeople.In search journalofreflection writingtorecord inactionandperformative myexperience experience andgainingfeedbackfrom thespectatorsofmyownwork.Ikeptare and thatofothers;reviewing keyliterature; interviewingotherpractitionersabouttheir holistic viewfrom multipleperspectives:creating andreflecting uponmyownpractice 5 cf. Action Research” 25,no.3, 1 4 cf. 3 cf. 2 cf. Practice-based research founded on personalpractice can besubjective and prob In order tocontextualisemyownpost-animationpractice,overthefollowingchap 5 cf. PamelaLomaxandZoeParker, “AccountingForOurselves:TheProblematic ofRepresenting . 3.5 Performing animation live: Quartet (Margie animationlive:Quartet 3.5 Performing Medlin,2007) 3.4 Improvisation andthedatabase:LittleHoward (Howard Read) 4.2 Choreographing theviewer:BecomingStarfish(GeneticMoo,2006) 2.4 AnimationTheatre: Soiled(FaultyOptic,2003-7) to affect animpactonthework. to affect 3 ; Little Howard is a comedian 1 Consequently, Iusedavarietyofresearch methodstocreate a Cambridge JournalofEducation 4 and on page61. (1995). Quartet 1.3 Themethods on page113. on page107. was a digital dance on page130. 2 ; Genetic Moo 9 - - - - - 1. Animation as performance: Research context the basisofontology. the twotermsandargue cannotbedistinguishedon thatanimationandperformance follow, Iwillpresent examplesofpracticethatdestabilisebinaryoppositionsbetween fromthe fundamentalessencethatsetseachapart otherforms.Inthechaptersthat whatis to determinewhatisspecificallyunderstoodby‘animation’and‘performance’: define mytermsthrough criticalreflection onthekeyontologicaldebatesthatseek Before Ipresent thepracticeinmore detail,intheremainder ofthischapter, Iwill 1.3 Themethods 10 1. Animation as performance: Research context T games technologies;digitalinkandpaint;CGIpuppeteering. digital compositing,rotoscopingandimagemanipulation;motioncapture porary computersnowfacilitatearangeofnewanimationtechniquessuchas: significantly lessthanthatofmycurrentmobilephone. of-the-art computer in 1970 had a storage capacity of less than 500mb, which is and viewingmethodshaveoccurredatanextremelyrapidpace.Themoststate- boundaries areconstantlyshifting.Thesechangesinproduction,distribution technologies used,animationisemergingasacomplexsetofpracticeswhose frame offilmtothepixel.Amediumthatwasoncedefinedbytechniqueor very materialbasisofanimationhaschangedfromanaloguetodigital:the and uncertaintyinthefieldofanimation,boththeorypractice,since distributed. had a profound impact on thewaysinwhich animation is made, viewed and 1.4 Theontologyofanimation Japan beingshownintheWest. ChallenginganimationauteurssuchasJanSvank English-speaking world. for thepurposeofthisthesis. conceptually underpinmypracticeandproposeaworkingdefinitionoftheterm present anoverviewofthekeydebatesarounddefinition‘animation’that culture. Thepopularityofthefilm moving image practices and incorporated them within popular experimental fine art cf. the Cinema andAnimation,1997),xforanexampleoftheemergence ofanimationwithadultthemes 2 animationstudies.org/2008/07/28/birgitta-hosea-tv-20 (accessedJuly27,2008). Studies -Peer-reviewed OnlineJournalforAnimationHistoryandTheory 1 3 Since the1980s,animationaimedatadultshashadincreasing prominence inthe turing astheresultoftechnologicalinnovationsincomputingthathave raditional practicesandfundamentalunderstandingsofanimationarefrac cf. GeneYoungblood, cf. Birgitta Hosea,“TV 2.0:AnimationReadership/AuthorshipontheInternet,” cf. JaynePilling, Wayward Women GirlsandWicked 1 This period of technological change has ledto ontological unease A ReaderinAnimationStudies 3 Expanded Cinema Pop video, adverts andnightclubvisualshave cannibalised Popvideo,adverts Akira 1.4 Theontologyof animation video seriesthatPillingeditedforConnoisseurVideo. (London: Studio Vista, 1970),183. (London:StudioVista, (1988) ledtoadult-orientatedanimefilmsfrom (London;Paris;Rome;Sydney:JohnLibbey 2 3(2008),http://journal. High-poweredcontem

In thissection,Iwill Animation 11 - - - 1. Animation as performance: Research context TV showslike majer andtheQuayBrothers were housecinemas,whilecult showninWestern art art world.’ art ing drawingsasanimation:‘PeoplesaidIshouldn’tdoitif Iwantedtogetaheadinthe about form,yetitalsounderlinescommonpreconceptionstion andclaimitasaseriousart The Animate!Book:RethinkingAnimation continued toprovoke debateandextendnotionsofanimation. of whatanimationcouldbe: Council’sArts 1990s. AlthoughChannel4’s hassincebeenshutdown,theUK animationdepartment became acentre filmsfrom foradult-orientatedanimatedshort the1980stillmid on mainstream television. Asaresult ofChannel4’s commissioningpolicy, Britain worried her to accept an hadsuchnegative associationswithanimationthatiteven Course, oneoftheartists, animation ashightech,industrialised,popularculture aimedatchildren. Indeed,Anne ing themselvesasananimator, whilemostoftheremainder hadpreconceptions of with defin scheme. Only one of the eight interviewees in the book was comfortable producer ofthe 3 to-animation (accessedMay29,2008). 2 online distributiononly. cf.www.animateprojects.org Atthetimeofwriting,thisschemehaslostmuchitsfundingandnowcommissions workfor 1 Gary Thomas (London: LUX in association with Arts CouncilEngland,2006),52. Gary Thomas(London:LUXinassociationwithArts

Anne Course,“Interview,” in Dick Arnall,“DeathtoAnimation,”2005,http://www.animateonline.org/editorial/2005/08/death- animation. Thebookfeatures interviewswithvariousrecipients ofthe find anewword for“theextendedmovingimage”. …‘animation’ really isnotahelpfullabelanymore. …Deathto‘animation’.It’s timeto them animationand,frankly, tosaytheleast, it’s justnothelpful… conceptual reason. We lumptogether allthesetechniques,formsandambitions,call created byjustaboutanyalternativemeansfor aesthetic,narrativeor also usetheterm‘animation’torefer tojustaboutanythingthatisn’tdirect live-action, on thescreen byananimator. Butthoseofusinsidetheworldmovingimage, Everyone outthere knowsthatanimationmeans‘invented’charactersbrought tolife label it. I believeit’s timetokillanimation.Nottheanimationwewatch,butword weuseto 3 Animate! The Simpsons,RenandStimpy Animate! scheme, founded in 1990 with the support ofChannel 4, has scheme, founded in1990 with thesupport scheme,issuedarallyingcryforcompletereconsideration Animate! The Animate!Book:RethinkingAnimation Commission, which would define her work in mov 1.4 Theontologyof animation aims toexpandourunderstandingofanima and South Park 2

, ed.BenjaminCookand begantobescreened 1 DickArnall,original Animate! 12 - - -

1. Animation as performance: Research context tion and itsoutputforchildren. dominance ofAmericantraditionsand,inparticular, bytheworkofDisneystudio beenhampereddium ofanimationhavehitherto bylong-standingassumptionsof the children’ asthesubjectofseriousacademicstudy. Criticaltheorisationsoftheme to reclaim an area of practice that had previously been considered by many to be ‘for animation couldbe: change andinnovation,heproposes pointthat a workingdefinitionfor asastarting the terrainofanimationinanagedigitaltechnologythatisastatecontinual Paul Wells of defining concurs with thisviewpoint. While acknowledging the difficulty Animated Film1898-1923 study istoclaimitatypeoffilm.Thus,intheintroduction to of seriousstudy. relatively newdisciplineisstillintheprocess ofestablishinganimationasasubject of Bazin,Kracauer, etc.,thatestablishedfilmasanarea ofacademicenquiry, this scholarship havebeguntobeproduced onthesubject.Akintoearlyfilmcriticism tion studiesandorganisations suchastheSocietyforAnimationStudies,worksof of filmtheoryandFilmStudies’. the profound axioms issues thatanimationraises‘challenge,evensuspend,certain studies, becauseitisseennotonly, ‘aschildtoliveaction’s adultform’,butalsothat the animatedfilm is asub-speciesoffilm in general.’ 2 1 4 Chicago Press, 1993),6. 3 9-10. Alongside changesintheformsthatanimationcantake,academicshavesought One approach ofserious academic tolegitimisinganimationasasubjectworthy , Alan Cholodenko argues passionately that animation has been neglected by film Alan Cholodenko, cf. PaulWells, Paul Wells, Donald Crafton, been directly recorded intheconventionalphotographicsenses. a filmmadebyhand,frame-by-frame,providing anillusionofmovement,whichhasnot Understanding Animation Animation: Genre andAuthorship Before Mickey:TheAnimatedFilm1898-1928 The Illusionoflife:EssaysonAnimation 1 , DonaldCraftonstates,‘Onepremise ofthisbookisthat Inhisintroduction to 2 More recently, through theemerging fieldofanima (London;NewYork: Routledge,1998),10. 1.4 Theontologyof animation (London;NewYork: Wallflower, 2002),2. The IllusionofLife:EssaysonAnima (Sydney:PowerPublications,1991), 3 In (Chicago;London:Universityof Understanding Animation 4 Before Mickey:The 13 , - - - 1. Animation as performance: Research context Figures 2-4. pole ofherproposed spectrumisunmodifiedliveaction,suchasAndyWarhol’s This definitionstresses thatitisthetechnicalprocesses usedthatdefineanimation. picture activitiesthatrangefrom mimesistoabstraction. mation isaformofpractice ofthewayframeswerevirtue constructed. It conceptualisesanimationasatypeoffilm,differentiated from othertypesoffilmby tion andfilm.SimonPummelelaboratesonthecomplexrelationship betweenanima notions ofanimationas‘subset’filmorevenabinaryoppositionbetweenanima in whicheveryshothasbeenmanipulatedbyacomputer, problematise anysimplistic filmmaking techniques.Filmslikethe animation. Furniss’s modelhasrelevance tothecomplexfieldofcontemporarydigital tion, naturalisticanimationthathasreference from lifestudyandabstractedcharacter motioncapturedspecial effects, animation,animationthatiscombinedwithlive ac mimesis andabstraction,suchasconventionalliveactionfilmsthatcontainanimated modate arangeofdifferent movingimagepracticesthatinvolvedifferent levelsof not attempttoreproduce thehumanform.Thismodelofaspectrumcan accom such asOskarFischinger’s five hours. On the other side of the spectrum, at the abstractionpole, would be films (1963), which hasreal timedocumentarystylefootage of JohnGiorno sleeping for Hutchinson, “TheStill:AnimationandtheCriticalPotentialofStillness,” in 1 1998), 5-6. 2 Kingston, ExhibitionCatalogue.(Nottingham:AngelRowGallery, 2006),11. Rather thanbeinga‘subset’offilm,Maureen Furnisscontendsthatalthoughani A more minimalvariationofthisis:‘Animationstillsare maderatherthan‘captured’’. cf.Mark Maureen Furniss, Lord oftheRings Art inMotion:AnimationAesthetics Art wallpaper. Circles within filmproduction, ofaspectrummoving itis part (1933),whichconsistofabstractshapesanddo 1.4 Theontologyof animation Lord oftheRings (London;Paris;Rome;Sydney:JohnLibbey, trilogy(2001,2002,2003), 2 Attheextreme mimetic The Animators , ed.Angela Sleep 14 1 - - - - -

1. Animation as performance: Research context in Roland Barthes bookonphotography,in RolandBarthes tion andfilmthathasresulted from digitalspecialeffects: Figure 5.Promotional posterfortheMutagraphatEgyptianHall,1897. MuseumofLondon. magician DavidDevant’s stageactinLondon’s EgyptianHallin1896. film wasreferred of toas‘animatedphotographs’,suchthosedisplayedpart ally filmshouldbeseenasatypeofanimation.Indeed,intheearliestdayscinema, distinct movingimagepractices. Pummel’s suggestionisthatdigitalanimationandfilmmayceasetobecome the momentwhen‘thisPhotographisanimatedandbecomescinema’. 5 54-8. 4 Luton Press, 1996),299. British Avant-Garde Film1926-1995:AnAnthologyofWritings 3 Several commentatorsargue thatratherthananimationbeingatypeoffilm,actu Roland Barthes, Roland Barthes, Eric Barnouw, Simon Pummel, “Will theMonsterEatFilm?orTheRedefinitionofAnimation1980-94,”in Simon Pummel,“Will its ownultimateextinctionasadistinctcategory. tion iseatingclassicalcinema,andpossiblyatthesametimecreating conditionsfor frame-by-frame manipulationoflive-actionmaterial,creates apossibleparadox:anima- The massiveexplosionin‘compositecinema’,bothcomputeranimationandthe The MagicianandtheCinema Camera Lucida , trans.Richard Howard Classics,2000),78. (London:Vintage 1.4 Theontologyof animation (NewYork; Oxford: Oxford UniversityPress, 1981), Camera Lucida, 3 , ed.MichaelO’Pray(Luton:Universityof in which Barthes refersin whichBarthes to 4 Thisisechoed 5 According The 15 - 1. Animation as performance: Research context between representation andsimulation. relationship between film and animation foregrounds complex issues of distinction action oftheindex’ traditional cinemaasthe‘art a humanoperatorwithfargreater easethantheanaloguegrainoffilm.Referringto of adigitalimage-thepixeliscomposedzeros andonesthatcanbealtered by New Media not onlypreceded theadventofcinemabutengendered it’. moving imagepracticethatpre-dates theinventionofphotography:‘animationfilm to AlanCholodenko,filmisatypeofanimation,whichheargues isanolderformof cal processes andenhancedbyopticalprinting. and mattepaintingsaugmentthespacedepicted;filmstockistintedbychemi rearrange andmanicure thesetdressing anddesign;green screens, mirrors, models stitched togethertocreate theillusionofcoherent directors timeandlocation;art in mostfilmsisusuallyextensivelymanipulated:discontinuoustimesandspacesare image appearstoshow‘real theversionof‘reality’ life’withoutartifice, thatisdepicted events thattookplaceinreal, physicalspace. division ofliveactionfilmfrom animation. development ofmagictheatre andmusichallacts,defyfrom thesimplistic thestart be usedtocreate photorealistic scenesthatmaylookasiftheyhadbeencaptured material basisoffilmandanimationproduction, LevManovichin reliant on‘lens-basedrecordings ofreality’. manipulation hasbecomeevenmore extensive,asthere isnolongeraneedtobe 6 5 4 306. 3 2 1 In thecontextof films;thatis,theylargely consistofunmodifiedphotographicrecordings ofreal Ibid., 294. Ibid., 303. Ibid., 293-4. Lev Manovich, Ibid., 23. Cholodenko, alsodevelopstheideathatfilmisatypeofanimation. The Illusionoflife:EssaysonAnimation The LanguageOfNewMedia

the paradigmshiftthatdigitaltechnologyhasbrought tothe 1.4 Theontologyof animation 2 Theearliestanimatedfilms,whichwere a (Cambridge,Mass.;London:MITPress, 2002),293- 3 , heobservesthat:‘Fictionalfilmsare 6 Computer generated special effects can Computergeneratedspecialeffects ’4 However, althoughtheanaloguefilmic , 9. 5 With digitalcinematheprocess With of 1 ForCholodenko,the

The Languageof The smallestunit live- 16 - 1. Animation as performance: Research context to theproto-cinematic technologiesofthedawncinema. techniques involvehandmanipulation.Manipulatingimagesbyimpliesareturn a cameraproduces imagesthathavebeenmechanicallyrecorded, digitalimaging by acamera,yetwere entirely synthesisedwithinadigitalenvironment. Whereas have tobeakindofcinema:‘…itcouldjustaswell tion bythemediumoffilmisreductive. Justbecauseitmoves,heasks,why doesit OneHundredCartoon: Years ofCinemaAnimation. and painting. ability ofthepixelimplieserosion oftheboundariesbetweenphotographic images eye, butakino-brush.’ branchofpainting -paintingintime.Nolongerakino- ‘Cinema becomesaparticular digital technology implies that animation and film are actually both types of painting: Manovich cites William JMitchell’sManovich citesWilliam in assertion by theanimator that have been accepted as a footnote to the art historicalcanon,includingthose that havebeenacceptedasafootnotetotheart image manipulationinvolvedindigitalcinemaproves thatfilmisasubsetofanimation: movement. TheconceptthatunderliesManovich’s argument and isthattheartifice created theillusionofmotionthrough therepetitions ofloopsorcyclesstages were handpaintedandmovedbytocreate movingimages;spinningopticaltoys used processes thatlatercametobethoughtofasanimation:magiclanternslides or even 5 Taraboleti-Segre (Bloomington;Indianapolis:IndianaUniversityPress, 1995),xix. 3 2 1 4 Mass.; London:MITPress, 1994),7. The idea that animation is a form of time-based, moving art is also presentedThe ideathat animation is a form of time-based, moving art Giannalberto Bendazzi, Giannalberto William J.Mitchell, William Ibid., 302. Ibid., 295. Manovich, only in the end to become one particular caseofanimation. only intheendtobecomeoneparticular its manyelements…Bornfrom animation,cinemapushedanimationtoitsperiphery, caseofanimationthat useslive-actionfootageasoneof Digital cinemaisaparticular sculpture 3 ForManovichthe‘manualconstructionofimages’through theuseof The LanguageOfNewMedia

Alexandre inhispreface Bendazzi’s Alexeïeff toGiannalberto book, inmovement.’ The Reconfigured Truth Eye:Visual inthe Post-PhotographicEra 4 Cartoons: OneHundredCartoons: Years ofCinema Animation 5 However, despitetheexistenceofanimatedfilms 1.4 Theontologyof animation , 308. The Reconfigured Eye He

argues thattodefineanima painting, drawing,engraving 1 Theseearlytechnologies 2 , trans.Anna thatthemalle (Cambridge, 17 - -

1. Animation as performance: Research context or bycontemporaryart. Ruttman Eggeling,HansRichterandWalterinfluenced bymodernistpainterssuchasViktor ‘manipulated movingimage’,especiallyasdefinedbythe commonplace thatcouldencompassabroad rangeofmovingimageactivities:the a consequenceofthisshiftinpractice,looserdefinitionanimationhasbecome the creation ofanimationaswelltheeditingandmanipulationdigitalvideo.As allowing greater accessibilitytoarangeofdesktopsoftware packagesthatenable that were onceonly available toafewskilledpractitionershavenowbeenopenedup, not primarilymotivatedbyconcernsofcharacterandplot’. of workcommissionedbytheschemeis‘risktakingandboundarycrossing’ and‘is for theschemestate: long asitisnot‘directly recorded’. Thecurator, AngelaKingston,elaboratesonthis: panded toincorporateeverythingthatcanbecaptured withaphotographiclensso This demonstrateshowthecontemporaryunderstandingofanimationhasnowex animation. Reclaimingabstractfilmasanimationcreates aseriouslineageforanima sidered filmorexpandedcinemahasbeenappropriated asartists’ intothecanonof manipulated photographicmaterial,movingimagepracticethatwaspreviously con garde and Thomas,136. 4 3 Imagination,” in 2 in theinterwarperiodEstherLeslie, 1 As aconsequenceofthismovetore-classify animation asanactivitythatincludes Angela Kingston,“CuratingTheAnimators,”in Arnall, “DeathtoAnimation.” Gareth Come:Animate!andtheExtended EvansandDickArnall,“BuildItTheyWill There isausefulsurveyofthelinksbetweenanimation,avant-garde andmodernistcriticism art that couldnotbedirectly recorded infront ofalive-actioncamera. can beimagere-presentation through spatialortimelinemanipulation–anything exclusively drivenbyaframe-by-frameprocess butbynotionsofsynthesis.Animation You donothavetobeananimatorapply. Animationisnot,andneverhasbeen, effects anddigitalmanipulations. effects rapid editsandcuts,repeats andreversals, speedings-upandslowings-down,collage …animation nowincludes‘normal’filmswhichhavebeenintensivelyreworked with (London;NewYork: Verso Books,2002). 1 , animation has, until very recently, film’ been neglected by the worlds of ‘art The Animate!Book:RethinkingAnimation,

With theadventofdigitaltechnology,With industrialprocesses Hollywood Flatlands:Animation,CriticalTheoryandtheAvant- 1.4 Theontologyof animation 4 The Animate!Book:RethinkingAnimation ed. CookandThomas,101. Animate! 2 Theentryrequirements scheme.Thetype 3 , ed.Cook 18 - - - 1. Animation as performance: Research context children. The that defies stereotypical for tion as a form of fine art notions of Disney and cartoons Momentary Momentum:AnimatedDrawings exposed area ofpractice,ripefordiscovery. Inthewords ofonethecurators In aworldthatisconstantlyonthehuntfor‘nextbigthing’,animationanunder- such Kentridge. as Robin Rhode, Francis Alÿs, Julian Opie and William work of artists world, contemporary galleries are to exhibit the drawn animation in the art starting gallery, asaworkofanimation. The Lightsgoonandoff Carels, Creed’s went sofar as toconsider Martin Turner installation, Prize winning art manipulated movingimageand,therefore, animation.Oneofthespeakers,Edwin mental film.Theirinclusioninthefestivalprogramme contextualisedthosefilmsas conventionally considered tobeworkinginstructural,expanded,direct orexperi work by Anthony McCall, George Michael Snow, Griffin, Stan Brakhage and others ber of artists thatareber ofartists experimentingwithmovingdrawingandnewtechnology. Another reason worldtakingnoticeofanimationisthenum forthecontemporaryart famous definitionofanimationas‘thespacesinbetween’: 3 2 England, 2006),21. Drawings 1 which Ihavewrittenmore ondigitaldrawingand animation. Animation In conjunctionwithageneralresurgence ofinterest indrawingthatcanbeseen An openingoutoftheconceptanimationisalsoevidentinNormanMcLaren’s cf. Birgitta Hosea,“Drawing Animation,” Lawrence Dreyfus, “PanoramaofContemporaryAnimation,”in Edwin Carels, in “Animation=AMultiplicationofArtforms?,” full fine art status. full fineart practice ismakingastrong comebackandworksofanimationare nowbeinggiven of paintingandsculpture. Drawingandanimationare re-invigorating filmmaking.The ondrawing,adisciplinethat haslongbeenignoredsuch importance totheadvantage of theseforms,perhapsbecauseitstraditionalproduction process, whichplaces radical revision categories.Animationisoneoftheleastknown ofourhabitualartistic isconstantlygeneratingnewmediums,thestudyofwhichimpliesa Contemporary art Animation is not the art of drawings that move, but the art ofmovementsthatare ofdrawingsthatmove,buttheart Animation isnottheart , Exhibition Catalogue (Parasol Unit for Contemporary Art, London,2007), 30. , ExhibitionCatalogue(ParasolUnitforContemporaryArt, , ed. Benjamin Cook and Gary Thomas (London: LUX in association with Arts Council , ed.BenjaminCookandGaryThomas(London:LUXinassociationwith Arts Pervasive Animation 2 (2001), in which lights go on and off insequenceanempty (2001),inwhichlightsgoonandoff 1

conference at the Tate Modern in 2007 featured 1.4 Theontologyof animation Animation: AnInterdisciplinary Journal exhibitioninLondon2007: The Animate!Book:Rethinking Momentary Momentum:Animated 5,no.3(2010):in 3

19 - - 1. Animation as performance: Research context that cannotbepinneddownandresists simplisticdefinition.Perhapsitis: cannot actuallybedefined.Cholodenkosuggeststhatanimationisacomplexpuzzle each isconsidered asaformofbothpopularculture Perhapsanimation andfineart. theatre oranightclubanddoesnotclarifywhatisspecifictoanimationasmedium. mation, Carels’s proposition issobroad thatitcouldequallybesaidtoapplyfilmor impressions. argues that this term suggests that animation produces a multiplication of mental derives this definition from the Russian term for animation – develops McLaren’s ideatoargue forms.He thatanimationisamultiplicationofart and agreater suspensionofdisbeliefthatwatchingphoto-real cinema.EdwinCarels the mindbyviewer, butwatchinganimationinvolves abiggerleapofimagination pleted inthemindbyspectator. Clearly, everyactofperception iscompletedin animation is not merely a technologicalpractice, but a cognitive process to be com technology used)are interpreted inthe brainasmovingimages.Thisimpliesthat frames projected at 15, 24, 25, 30, 50 or 60 frames per second (depending on the This proposition refers tothepersistenceofvision,through whichaseriesofstill In herintroduction tothe be argued that,asanimation isapracticeattheintersectionofsomanyotherforms– that animationhasbecomeauselessword andthatanimationiseverywhere. Conference, Tate Modern,London,2007). 4 3 2 3, no.2(1995):62. 1 In conclusion,animationcanbeseenasfilm,filmand Georges Sifianos,“TheDefinitionofAnimation:ALetterfrom NormanMcLaren,” Suzanne Buchan,“Introductory Address” (paperpresented atthePervasive Animation Cholodenko, Carels, 15. “Animation=AMultiplicationofArtforms?,” that liebetweentheframes. on eachframe.Animationistherefore ofmanipulatingtheinvisibleinterstices theart drawn. Whathappensbetweeneachframeismuchmore thanwhatexists important life, animationandfilmgraspable. ment, life,animationandfilm,thatnomore thantheflyare movementand secret wouldseemtobetheinescapablefrustrationattendantupontheorisingmove- … anirritantlikethenoiseofaflybuzzingaround yourhead,aflywhosediabolic 2 However, inits attempt to embrace a more liberalunderstanding of ani The Illusionoflife:EssaysonAnimation Pervasive Animation 1 1.4 Theontologyof animation 3 conference, SuzanneBuchanargued , 27-8. multiplikatsija Animation Journal 4 Itcould – and 20 - -

1. Animation as performance: Research context tually through context. practiceinafineart conceptualisations risksanimationbecomingameaninglessterm: result inanendproduct thattakesdifferent formsandisshownindifferent contexts. related tendenciesinpracticethatshare commontechnologies andprocesses but porary, commercial contextcouldmore usefullybedividedintofourdominant,inter Indeed, tobemore accurate, whatiscommonlyreferred toasanimationinacontem In thisresearch, themainfocusison can neverbeclearlydefined. digital manipulation, puppetry – it illustration, storytelling, fine art, film, performance, These fourare: there are otherhybridandnon-commercial approaches. Iampresenting theseasdominant tendenciesinacommercial contextand acknowledgethat 3 (Lausanne: AVA Publishing,2008), 6. 2 is theforerunner ofthecomputer. it isaframe-by-framerepetitive process recorded overtimeontoclothand,indeed,theJacquard loom Ihavemyselfsometimeswondered whetherweavingcouldbeconsidered aformofanimationas 1 2. 3. 1. 4. Motion graphics animation Character Paul Wells andJohnnyHardstaff, term -amere catch-allthatspeakstoallmanipulatedmoving-imagepractices. tive image-makingendeavours…hasinsomesensesmade‘animation’aredundant … theelevationofanimationasacore termofdescriptionformanyaspectscrea- form of a short filmorinstallation. form ofashort suchasrealistic, orgraphicandlimited; ter performance cartoonal Art animation Art to beseamlesslycompositedwithinliveactionfilmedfootage; chitecture, vehiclesandprops orevencharacteranimation,thatare designed Special effects of earlierabstract,non-narrativefilmandanimationpractice; tials, thesemayincorporatealloftheaboveaswellmanystylisticfeatures and typicallyusedinnightclubvisuals,poppromos, titlesandintersti adverts, , mayinvolveanycombinationoftheaboveandtypicallytakes , photorealistic simulations, whichcanincludelandscapes,ar , oftendrawingontraditionsoftypographyandgraphicdesign , whichcandemonstratedifferent approaches tocharac 1 However, asPaulWells hasargued, usingsuchbroad Re-imagining Animation:TheChangingFaceoftheMovingImage 1.4 Theontologyof animation character animation , whichIexamineconcep 2 21 3 ------

1. Animation as performance: Research context that Iamtryingtoexpress here are that: have beenphotographicallycaptured byacamerainreal-time constructthatcouldnot ated, movingimagesofamanipulated,artificial purpose ofclarity, whenIusethetermamtherefore referring specificallyto of light,beconsidered asaformofanimation. Forthisreason, Iwouldargue thatshadowpuppetry, displayedonascreen through themedium 2 Orarangeofotherauthoringlanguages. 1 Within the overall context of a shifting definition of the term ‘animation’ Within and for the 4. 3. 2. 1. information is stored - could be film, but it could also take a digital form such as Finally, themediumofmovingimage- thecontainerinwhichaudiovisual mediation ofaninterveningtechnology). the puppeteer’s bodyinthesamephysicalspaceaspuppetwithout petry, whichisthecreation movementthrough ofartificial meansthatextend mediated through a form of image-making technology (as opposed to pup Additionally, movementsinananimation are theartificial stored, depictedand frames oralineartimeline. alone usingProcessing orActionScriptinginFlash frames, anentire animationcanalsobedescribedandgeneratedthrough code orMELscripts inMaya.AlthoughtheprocessesEffects mentionedaboveuse written incoderatherthancreated byhand,suchasusingExpressions inAfter in betweenthem.Changestheimageryonsuccessiveframescanalsobe the animatorandcomputersoftware willinterpolatethestagesofchange the animator. ‘key’framesare Using‘tweening’forexample,certain created by process are alsoused,inwhicheachframenolongerneedstobecreated by puter animation,additionalmodelstotheindividuallydefinedframe-by-frame no longerdefinescomputeranimation.Althoughitisonewaytomakecom I donotexplicitlyrefer toahand-made,frame-by-frameprocess, becausethis real-time through thelensofacamera. form inthe‘real world’andthatcouldnothavebeenconventionallycaptured in changethatdoesnotoccurinthesame The movingimagesdepictartificial 1.4 Theontologyof animation 2 1 , withoutthepresence of . Thekeypoints medi 22 - - - 1. Animation as performance: Research context precursor tothis,Iwillclarifymyuseoftheterm‘performance’. Asa mance isinananimationand,indeed,ifcanbeseenasperformance. instance oftheanimatedcharacter dences ofthatwhichonemightcallanimation,inthisresearch Ifocuson Rather thansearching foranew, elegantdefinitionthatmayencompassallinci can bedistributedandplayedback. computer code,whichallowsagreater varietyofwaysinwhichthoseimages 1.4 Theontologyof animation . Inparticular, Iaskwhere thesiteofperfor the specific 23 - - 1. Animation as performance: Research context B and intoallaspectsoflife: mance canbetreated asaverybroad concept,whichstretches beyondthestage formance is. As with approaches to the definition of animation, for Schechner perfor Barry JCPurvessuggests: character animatorsthanthatof‘acting’,ascontemporarypuppetanimator, The broader concept of ‘performance’ is moreapplicabletothe activities of single institutionalcontextorstyle,suchasnarrativetheatre,danceliveart. first saythatIamusingthetermgenerally,withoutspecificreferencetoone mance studies can be useful for a deeper consideration of animation. I should term oftenusedwithitsmeaningassumed)andhowkeyconceptsfromperfor 1.5 Theontologyofperformance ies in concept ofperformativity, asdefinedbyJudithButlerandexaminedinmycasestud The process anidentitydeterminedbysocialrole ofperforming isdevelopedinthe proposes that performance is an act that defines our very being. A performative proposes is an act that defines our very being. A performative that performance presence Routledge, 2006),28. 2 Focal Press, 2008),xvii. 1 Performance theorist,RichardPerformance Schechner, hasexpandedallnotionsofwhatper as performance,itisnecessarytoclarifywhatmeantbyperformance(a efore examiningingreaterdetailthepremisethatanimationcouldbeseen 2.2 The performative animator 2.2Theperformative Richard Schechner, Barry JCPurves, framed, presented, highlighted,ordisplayed isaperformance.“ an actionforthosewhoare watching…Theunderlyingnotionisthatanyaction togoextremes, istoshowoff, toundertake Ineverydaylife,“toperform” concert. is toputonashow, “toperform” aplay,succeed, toexcel.Inthearts, adance, istodosomethingupastandard andsex,“toperform” –to In business,sports scale. lion related skills.We are whohappentobetellingbigstoriesonasmall performers of aperformer, asthatwidensthefieldandbringsindance,mime,singingamil- personae. ThesedaysIprefer tosaythatallanimatorsneedhavethesensibilities connotations ofthetheatre andfilm,ismaybetoodefinedbyscriptshuman It’s abiteasytosayallanimatorsshouldbeactors,butactingprobably hascertain on page 74. In a theory of performativity informedbylinguistics,Butler on page74.Inatheoryofperformativity 1 Stop Motion:Passion,Process andPerformance Performance Studies:AnIntroduction,Performance SecondEdition 1.5 The ontology of performance 1.5 Theontologyof performance on page36and 2.6 Performing animated 2.6 Performing (Amsterdam; Bostonetal.: 2 (London;NewYork: 24 - - - - 1. Animation as performance: Research context human behaviourinanorganised from situationthatdiffers everyday performance andhethereforeuniversal principlesthatcouldapplytoallperformance focuseson stereotypes suchasEuropean vs.Asian,dancetheatre, hestrivestouncover precedents. To paraphraseShakespeare’s play, notion thatthere inherent isaperformance ineverydaylifeisaconceptwithhistorical asaroleconstruct thatmustbeconstantlyperformed inorder tobemaintained.The arguescome thatwhichoneenacts.Butlerfurther thatoursenseofselfisafragile developed through theworkofEugenioBarba.Inhisbook to thepublic,alsotakesplacewhenacharacterisanimated. process ofpreparing speechactsandbodilymovements,whichare thenpresented to actionsorspeechactsthatare prepared orrehearsed andthenre-presented. A tural ‘meta’ theory of performance outlines histheoriesoftheatre anthropology inwhichheseekstodevelopatranscul idea ofa out toyou”. theactitdescribes,e.g.“Iapologize”,betyou”,theewed”,come and performs speech act, as conceived by the linguist J. L. Austin, is a phrase that has an audience uses theterms‘restored’ or‘twice-behavedbehaviour’ are created specifically inanorganised contextforpublicdisplay, Richard Schechner that enactedineveryday lifeandthoseperformances psychological performances ‘catch-all’ holdingtermforallofhumanbehaviour. Inorder todifferentiate betweenthe with verybroad risksbecominga definitionsofanimation,thisviewperformance is astageandallpeoplemerely players,playingoutroles intheireverydaylives.As 1 5 Routledge, 1995). 4 than thatofliveperformance. Iacknowledgehere thatthepreparation usuallytakesalongertime ofanimatedperformances 3 2 ed. Andrew ParkerandEveKosofskySedgwick(London;NewYork: Routledge,1995),197. The concept of twice-behaved behaviour that is out of the ordinary can be further Ibid., 10. Eugenio Barba, Schechner, Austin citedinJudithButler, “BurningActs,InjuriousSpeech,”in theatrum mundi, 1 A performative act,then,isanexistentialactinwhichoneseekstobe Aperformative Performance Studies:AnIntroduction,Performance SecondEdition The PaperCanoe:AGuideTo Theatre Anthropology itself 1.5 The ontology of performance 1.5 Theontologyof performance

derived from classical thought,wasthatalltheworld 5 . Rather than referring to narrow conventional As You Like It, 2 . With these,heisreferring. With Performativity andPerformance Performativity , 29. The PaperCanoe (London;NewYork: 3 andits Renaissance 4 , Barba 25 , - - 1. Animation as performance: Research context forming innon-naturalisticposesthatare larger Poleperformer thanlife.TheNorth codifiedrules:movingandper isbasedonsystemsofartificial, Pole performance category includesconventionalnaturalisticWestern acting.Ontheotherhand,North other performers, thestudyofbooksandpictures,other performers, thedirector’s instructions.’ theobservationofdailybehaviour,in thetextstobeperformed, theemulationof codes andhavetodeveloptheirownrulesbasedon‘thesuggestionscontained refers andSouthPoleperformers toasNorth human behaviour. whichhe identifiestwotendenciesinperformance, Barbafurther from Barba’s both Disneyanimator’s Preston Blair’s animation manualandDecroux mime exercises byIngemarLindh Figure 6.AvisualjuxtapositionoftheuseShadowTest todeterminestrong readable bodyposesin 2 1 Ibid. Ibid., 13. A DictionaryofTheatre Anthropology. 1.5 The ontology of performance 1.5 Theontologyof performance

1 . South Pole performers havenostrict . SouthPoleperformers 2 This 26 - 1. Animation as performance: Research context animation studentsstudyandreplicate: thestrut,doublebouncewalk,sneak, walk havebecomecodifiedbyanimationpractitionersintostylisedmovementsthat define a style or codified gesture’. ‘models her/hisscenicbehaviouraccording toawell-proven systemofruleswhich Figure 7.Preston Blair, MovementsoftheTwo-Legged Figure. developed atDisney’s studios principlesofanimation specificallythatfollowingtheclassic ‘cartoonal’ performance, Pole also makesuseoftraditionalrules,muchitcouldfitintothecategoryNorth to keepusfrom falling’. a ‘luxury balance’, meaning that ‘A whole series of tensions is then set in action just example, typesofwalksare usedinwhichthere isanalterationofnormalbalance, theatrical forms.InBalinesetheatre, for classicalballetandkathakaliperformance, 1981) foradetaileddescriptionoftheevolutionDisneyapproach toanimation. 3 2 1 cf. FrankThomasandOllieJohnston, Ibid., 19. Ibid. 2 Itcouldbeargued that,ascommercial characteranimation 3 1.5 The ontology of performance 1.5 Theontologyof performance . Forexample,formulaefortherepresentation ofa 1 This category includes dance and highly stylised The IllusionofLife:DisneyAnimation (NewYork: Hyperion, 27 1. Animation as performance: Research context a characterisrepresented: involvesacontinuumofactivitiesaccordingthat performance tothedegree towhich Michael Kirbyargues that‘actingisasub-categoryofperformance’ mance suchasJapanesenohtheatre. Theycouldalsoapplytocharacteranimation. ties, from speakinginrhymingcoupletstojugglingandacrobatics, tostylisedperfor text. Theseextra-dailytechniquesspanavastspectrumofvocalandphysicalactivi public presentation from thatdiffer standard behaviourintheirspecificculturalcon the shuffle. presented isan‘extra-daily’ describing performance behaviour thathasbeen createddescribing performance for public displayand is Thus, thetermnon-matrixedisausefulconcepttodifferentiate from actingwhen •฀ •฀ •฀ •฀ 4 3 2 1994), 98. 1 Culture (1984)[1972]),quotedinPhilipAuslander,Nickas, Robert Further refiningFurther thisconceptofre-presented activitythatisoutoftheordinary, Whether the performance stylereflectsWhether theperformance anaturalisticorcodifiedapproach, whatis •฀ Michael Kirby, “OnActingandNot-acting”in Schechner, Barba, cf. Preston Blair, Symbolized matrixed Received acting Simple acting tor’s beingtorepresent arole; Complex acting extra; such asacomedian,whoisclearlyactingthemselves, Non-matrixed who participate intheactionandarewho participate seenonstage,butare notincharacter toKabukistagehands describe arangeofactivitiesfrom art performance actions, butdoesnotrepresent acharacterandcanbeusedastermto (London:Routledge,1999),27. 1 The PaperCanoe:AGuideTo Theatre Anthropology Performance Studies:AnIntroduction,Performance SecondEdition Cartoon Animation Cartoon is a style of performance in which the performer carriesout inwhichthe performer isastyleofperformance involves simulationandimpersonation,butonlyalittleemotion; isusedtorefer totheemotionalcommitmentofwholeac involvesbeingthere, incostume,butdoinglittle,suchasan 2 istherepresentation ofacharacterrole byaperformer, use of the body: ways in which a performer behavesfor useofthebody:waysinwhichaperformer 1.5 The ontology of performance 1.5 Theontologyof performance (LagunaHills,California:Walter Foster Publishing,Inc., The Art ofPerformance The Art Liveness: Performance inaMediatized Liveness: Performance , 6. , 174. eds.Battock,Gregory and 3 andproposes 28 4 . - - - - 1. Animation as performance: Research context form andlivetheatre asacontinuallyevolvingprocess. mance astwoseparateentities.Theyseeanimationapre-recorded, linear, filmic examined in Thetheatreperformance. company, FaultyOptic,forexample,whoseshow describe animation practice. However, animation is not conventionally thought of as sumption ofarole and thebehavioursthatcharacterenactscanbeusedto acter’. beyond thecontextofeverydayyetremains outsidetherepresentation of‘char disappearance andbeyondcontrol orregulation: isthatithappensnow,live performance whichmakesitnon-reproducible, inastateof Adrian Heathfieldin implied here reside isplayedout. inthespecificconditionswhich performance Phelan argues inheressay, animation asperformance. particular, hownotions of liveness, authorship and presence challenge the notion of presence situationand,in identifiedbyHeathfieldascontextualisingaperformance I willnowexamineinmore detailthesethree factorsoftime,spaceandphysical contextualise theperformer: 2 1 All theconceptssetoutsofarreferring tothecreation ofacharacter, theas Temporality asitisexperienced‘now’.Peggy ofliveperformance isacrucialpart •฀ •฀ •฀ Adrian Heathfield, Liz Walker, interviewbyBirgitta Hosea,September17,2010. documented, or otherwise participate inthecirculationdocumented, orotherwiseparticipate ofrepresentations Performance’s onlylifeisinthepresent. cannotbesaved,recorded, Performance tations: once it does so, it becomes something other than performance… Perfor- tations: onceitdoesso,becomessomethingotherthanperformance… ger, relationship betweenactorandaudience. physical presence space time –temporality, immediacy, duration,pacing; 2.4 Animation Theatre –dynamicsoflocation,mass,context,thesiteitself; Live: Art andPerformance Live: Art Live: Art andPerformance Live: Art –thepowerofbody, intimacyandproximity, risk,dan The OntologyofPerformance 1.5 The ontology of performance 1.5 Theontologyof performance on page 61, think of animationand live perfor (London:Tate Publishing,2004),7. specifiesthree primaryfactorsthat 2

, thatanontologicalfactof 1 Theprimarydifferences of represen- Soiled 29 is - - - - 1. Animation as performance: Research context detail in I will,however, examineissuesofliveness,spontaneityandimprovisation ingreater appear atfirstglancetobeantitheticalaconventionalunderstandingofanimation. isproducedthe venuethataperformance in.Concepts of immediacyandthepresent emotional stateoftheactors,audiencereaction andthedifferent spatialcontextsof maybe,variationswillresultand scriptedaliveperformance from factorssuchasthe tion, butispresent tosomedegree Howevertightlyblocked inallliveperformance. physical presence oftheactor. Theatre director, PeterBrook, hisbook, starts indeed bealiveevent. The experienceof see itasatrueidentificationwithlife.’ tation ofreality, butratherthekindofactingwhich,byitsspontaneity, enablesusto Hodgson andErnestRichards suggest:‘Truth inactingisnotnecessarilytherepresen in memory, find thisakeyfeature Intheirbook, ofaconvincingperformance. chance, theunplannedandunpredictable. Indeed,manycommentatorsonacting spectator. It is a unique event that takes place He concurswithPhelanthat’theatre ofthepresent’ istheart theatre, whichshouldbethoughtofasmuchmore thananinstitutionorabuilding. tor. In 2 4 3 Unmarked: ThePoliticsofPerformance 1 An additionalfeature isthatanaudienceperceives ofliveperformance theactual Another aspectofbeingpresent ataliveeventisthatitinvolvestheelementof Barba, John HodgsonandErnestRichards, Ibid. Representation Reproduction,”Peggy Phelan,“TheOntologyofPerformance: Without in The PaperCanoe mance’s being…becomesitselfthrough disappearance. defines it. peals tolivingmemory, whichisnotamuseumbutmetamorphosis.Thisrelationship In theageofelectronic memory, offilmandreproducibility, theatre ap- performance Chapter 3 The PaperCanoe:AGuideTo Theatre Anthropology 3 live onpage91to126,where Iwillargue thatanimationcan performance isephemeral,itsonlytraceinthememoryof performance , Barbaargues forabroader understandingoftheconcept 1.5 The ontology of performance 1.5 Theontologyof performance (London&NewYork: Routledge,1996),146. Improvisation 4 Spontaneityisnotonlyafeature ofimprovisa (London:Methuen,1969),11. now , in front of the eyes of the specta , 36. 1 2 andthatitexistsonly Improvisation, John The 30 - - - 1. Animation as performance: Research context body in Empty Space, describes: spectator’s head, a vital process of exchange between actor and spectator, as Barba act ofcognition,arelationship betweentheworldonstageandinside of performance in of performance from theflatbodyofanimatedcharacter. Iwillexplore theissueof the authorship behaviourdoesnotoriginate istheanimator: performed of ananimatedperformance withaconventionalunderstandingofanimation.Thecreatoroppose liveperformance ence. Brook’s definitionagainraisesissues,whichatfirstsightappeartodiametrically andthebodyof theactorisclearlyevidenttoaudi authorship ofaperformance This corporeality is experienced inthree dimensionsand aconnectionbetweenthe occurs bothbetweentheactorandspectatorwithin theaudienceitselfbecause you, Ineednotfearyouseeingmeback,amincontrol.” Thisprocess ofexchange see meback?”,whereas avieweroffilmisinsecure positionofvoyeurism,“Isee spectator directly. Thus,inalivesituationthespectatormaythink,“Iseeyou,doyou There will look back or involve the is an exchange of looks, a risk that the performer tor. Theatre ofthespectator…’. istheart space, northetext,butattention,seeing,hearing,mindofspecta and viewer, ‘thetheatre’s asBarbaasserts: raw materialisnottheactor, northe dimensions in 3 1 2 The attentionoftheaudienceisparamountinrelationship betweenperformer Ibid., 140. Peter Brook, Barba, theatre tobeengaged. space whilstsomeoneelseiswatchinghim,andthisallthatneededforanactof I cantakeanyemptyspaceandcallitabare stage.Amanwalksacross thisempty these twoensembles:theactorsandspectators… isthesparkwhichflashesfromand spectator…theperformance thecontactbetween aboutthetheatreWhat isparticular istheliveandimmediatecontactbetweenactor 2.6 - 2.7 The PaperCanoe:AGuideTo Theatre Anthropology 3.3 with thelines: The EmptySpace (on page 74 to page 86) and experiencing animation in three (on page99to106). 2.2 - 2.4 1 (on page 36 to page 66), presence and the animated (London:Penguin,1982),11. 1.5 The ontology of performance 1.5 Theontologyof performance 2 This implies that performance requires Thisimpliesthatperformance an , 39. 3 31 - - 1. Animation as performance: Research context definition canalsobeappliedtoanimation. arts. andotherformsofperforming art process, whichtakesplaceinthepresent andcanbeappliedtotheatre, live presents behaviours, which were planned and prepared. This is a time-based yond thatofhereverydaylifeandisdisplayedforanaudiencewhere shere- interaction inmore detailin and of audiencefeedbackinanimation.Iwilllookattheideaparticipation tal technologieshaveenabledgreater possibilitiesforinteractionandtheinvolvement as aforminwhichthere andviewer, canbeasparkbetweenperformer howeverdigi proposed inwhich is working definitionforthepurposesofthisthesis,a‘meta’theoryperformance mation canbe,complicatesanysimplisticbinaryoppositionbetweenthetwo.Asa appeartobemutuallyexclusive. animation andliveperformance According totheontologicaldebatesthatIhaveconsidered, thetwoconceptsof audience andperformer. Itisexperiencednow, inthepresent inaspatialsetting. live, hasthepotentialforchance,spontaneity, forreciprocity ofgazebetween teract withtheviewer. onthecontrary, Aswehaveseen,performance, isembodied, characters are notlivingbeingsandlackactualembodiedpresence, theycannotin be repeatable andpredictable. Inaddition,itseemssafetoassumethat,ascartoon digital videoandenclosedinsideaflatscreen. Thus,theplaybackofanimationwill time-consuming detail,playedbackinalinearformthrough themediumoffilmor may appearambiguous,yetitisusuallyassumedthatanimationpre-recorded in Definitionsofanimation animation maybesaidtositwithinthefieldofperformance. clarify whatisgenerallymeantbytheterm,sothatitcanthenbeexaminedwhether audience memberscanlookateachother. of thestage,butpeopleinitcoulddisplaythemselvestoaudience. Forexample,inatraditionalproscenium theatre theroyal boxoftenhadapoorview attheedge 1 However, actuallyis,andwhatani acloserexaminationofwhatperformance This sectionhasconsidered inorder different theoriesaboutperformance to a humanbody(orsubstituteforit)assumesanidentitybe 3.2 1.5 The ontology of performance 1.5 Theontologyof performance onpage92and3.4107. 1 Animationisnotconventionallythoughtof Iwillgoontoargue thatthisworking 32 - - - - 1. Animation as performance: Research context T character isgivingaperformance. former andthat,intheeyesofviewer,anartificiallyconstructedanimated about thesiteofperformanceinanimation,notionsanimatorasaper ter lacksphysicalpresence,itsveryimmaterialityraisesfascinatingquestions this researchfocusesoncharacteranimation.Althoughtheanimatedcharac aiming tocoverallofthepracticesthatcouldbecoveredbytermanimation, dustrial, academic and artistic discourses that surround animation. Rather than mance), it was necessary to clarify the terms ‘animation’ and ‘performance’: toconsid mance), itwasnecessarytoclarifytheterms‘animation’ and ‘performance’: study thisfieldinmore detail. four such practitioners from puppet theatre, comedy, in order dance and digital art to Ihaveobservedandconducted semi-structuredin liveperformance. interviews with In particular, I have identified a field of hybrid practice that uses animated characters andoverlap. and practiceinwhichtheareas intertwine ofanimationandperformance film. the short notions ofanimationratherthantheproduction formof ofanimationintheorthodox of animation-itsconceptualunderpinningliesinthedeconstructionconventional animation’ todescribethispractice,as-althoughitemploysthetoolsandprocesses formed bypersonalreflection andfeedbackfrom others.Ihavecoinedtheterm‘post- of exploring,developingandtestingtheresearch questionsinaniterativeprocess in based research is used as a practical method methodology in which live performance sent ideasintheformoftext,imageandmovingthatresulted from apractice- place inanimationcouldhavebeenadopted.Overthefollowingchapters,Iwillpre 1.6 Conclusion:animationvs.performance A varietyofapproaches toanexaminationof As aprecursor inanimation(andperfor toexaminingperformance In order toposition,informandcontextualisethework,Ihavereviewed literature and assumptionsinaperiod of material and ideologicalchange to thein his researcharosefromadesiretounravelconventionalpreconceptions 1.6 Conclusion: animation vs. performance 1.6 Conclusion:animation vs.performance if and where performance takes performance 33 ------1. Animation as performance: Research context herself inChapter4. tion duringwhichtheviewerturnsanimatedmessageintopersonalmeaningfor delivery andplaybackofanimationinChapter3thecognitiveprocess ofrecep so considerstheproduction inChapter2,thetechnological ofanimatedperformance acter. Thisargument isstructured soastoanalyseanimationaformofmediaand that itisinthemindofviewerafictionalconstructconstitutedaschar technology, animationisnolongerlinearandfilmiccanbeexperiencedlive formance involvedintheactofcharacteranimation;that,withadventdigital with theaudiencethrough examplesofpractice.Iwillargue thatthere isadualper and 3,Iwillexamineissuesofauthorship,presence, space,livenessandexchange that donotappearaseasilyapplicablecanbeappliedtoanimation.InChapters2 asmuchitistofilm oranimation. theatrical performance and created is applicable to for the attention of others. This outlook on performance behaviourthatisbeyondtheeveryday could concludethatitisatwice-performed However,live, embodiedperformance. asummaryofdefinitionsliveperformance may appearat first glanceto be farremoved from the vibrant, spontaneousworld of have beenphotographicallycaptured byacamerainreal-time. Thisworkingdefinition refers constructthatcouldnot tomediated,movingimagesofamanipulated,artificial Consequently, thisresearch assumesasaworkingdefinitionthattheterm‘animation’ er key debates behind their usage and to present my own position on their definition. In thechaptersthatfollow, Iwilltestwhetherotherkeyconceptsofperformance 1.6 Conclusion: animation vs. performance 1.6 Conclusion:animation vs.performance 34 - - - 2. Production: The animator as performer I 2.1 Introduction 2. Production: Theanimatorasperformer Out There intheDark cartoon characterperforms,whoistheauthorofthatperformance? of thepractitioner,Isetouttoexploresiteperformanceinanimation.Ifa Focussing on issues arisingfrom the productionofpracticeand perspective but inordertoexaminetheconnectionsbetweenanimationandperformance. Finally, Iwillconsider the presence of theanimatedbodyandpresent a casestudyof of mediatorepresent onecharacter, suchasisevidentintheworkofFaultyOptic. mance andthecomplicationofmultiplyauthored thatuseseveraltypes performances photographic trickery. Ishallthenexplore issuesoftheanimatorasauthorperfor evolved from anancientlineageofmask,puppets,stagemagic,musichallacts and interconnected asanimation linksbetweenanimationandlivephysicalperformance, view in commercial character animation. I will go on to outline a historical review of the character they are creating by proxy. in a formof performance This isa commonplace physical space,theideaisintroduced thattheanimatorisperforming interventions intourbanlifeinwhichtheanimatorandanimatedinhabitsame present an economic or sociological analysis of the means of production, n thissection,Iuseproductionasaframingdevice,notbecauseintendto Commencing with a case study of (2008-10),whichincludesmultipletypesofpresence. Dog Betty (2007), a series of performative (2007), a series of performative 2.1 Introduction through the 35 - 2. Production: The animator as performer D 2007) animator:DogBetty(Birgitta2.2 Theperformative Hosea, through animationcouldbeconsidereda in performanceordertoexaminewhetherarepetitive,compulsiveacting-out decided toexperiencedirectlyboththecreationandauthorshipofacharacter in adesiretogetundertheskinofcharacter.Asanartist-researcher,I ence, studying themselves in a mirror or videoing and analysing their gestures, on early character designs for Betty Boop, in which she started outasapoodle. on earlycharacterdesignsforBettyBoop,inwhichshestarted animated inthesamespace,withbothrolesundertakenbyme. inhabit animationphysicallyasaparticipantobserver,tohaveanimatorand and aperformativeact.Usingperformanceasresearchmethod,Iwantedto feminine identity and in clarifying for myself the difference between performance of performance.Iwasspecificallyinterestedintheritualisedacting-outa were mainly videoedbyfriends,althoughonewascreated inthegalleryonatripod. girl tododrag. allow measafemaletoexplore themasqueradeoffemininity, inotherwords, asa her babyvoice.DogBettywasintendedasamore mischievouscharacter, thatwould at timesirritatinglysubmissive,complicitinherownobjectificationandchildlikewith characterwithherownseriesduringthatperiodofhistory,male carton BettyBoopis Boop. Despitehericonic graphic imageand strong presence astheonlycentralfe character, DogBetty, wasconceivedofasasatire characterBetty ofthecartoon character tooktheformofagiantcostumecreated through papersculpture. The As thispiecewasintendedforYou Tube, Iwantedaspontaneous, immediatedocu com/birgittahosea. Birgitta Hosea,DogBettySeries,Onlinedigitalvideodocumentation,2007,http://www.youtube. 2 1 See During aresidency attheLethabyGallery, Icreated acharacter, DogBetty, based My performances / interventions in public spaces such as the park, library,My performances etc., through acharacter.Animatorsfrequentlyactoutmovementsforrefer uring the process of animation, the animator canbe seen tobe performing Plate 1 page172. 2.2 The performative animator 2.2 Theperformative performative actinadditiontoan 1 My 36 2 - - -

2. Production: The animator as performer the Library and JoOrton’s infamousactofcuttingupbooksfrom Islingtonlibrary( male behaviourinpublicspaces( referred todrugtaking( sights from peerreview inseminarsandconferences. ThetitlesoftheYou Tube clips Tube, thesewere andIgainedmore butunfortunately allfrivolousorsuperficial in tion ofthevideo.Ihadhopedtogainvaluablefeedbackthrough commentsonYou camerawork. Inpost-production, Ianimatedtheeyesofcharacterinasmallsec sional videohasmore authenticityandsenseoflivenessthanprofessionally polished mentation andwasinterested intheideaofaYou Tube aesthetic:thatnon-profes to isolateandexaggeratecharactertraits,thusrevealing behindanironic theartifice daily and socially inappropriate character allows you license behaviour of a cartoon in contrasttotheeverydaylifeofcentralLondon.Iconcluded thatadoptingtheextra- me withaglimpseofananarchic, worldfreed cartoon from conventionalrestrictions, providedskin ofananimatedcharacterandphysicallyexperiencing lifeasacartoon been givenpermissiontodoanythingasIgavelifeDogBetty. Inhabitingthepaper ter, Igivelifetoit.Onthefirstdayinmypapercostumefeltverynaughty:asifhad tion imbuestheinanimatewithlife.AsIdraw, sculptordigitallymanipulateacharac actofanimation. the performative football match.Inaddition,Iconsidered theworktobeaconceptualexaminationof from thekindofslick‘mascot’charactersonemightseeatDisneyland oranAmerican able andwobbledslightly, inadeliberateattempttodifferentiate thisperformance Thegiantpaperheadwasuncomfort character andtoexperiencelifeasacartoon. head was made of paper, because I wanted to be inside the paper skin of an animated theoretical andstylisticdifferences. Conceptually, tomethatthe itwasvery important might seeatDisneyland?’Iwasasked.Beyondtheadultreferences, formethere were as somethingforchildren. ‘Whatmakesherdifferent from thekindofcharactersyou feedback thatIreceived wasthatpeoplecouldnotgobeyondtheideaofanimation A part ofanydictionarydefinitionanimationis‘togivelifeto’:theactanima A part ). Despitetheseexplicitlyadultreferences, anoverwhelmingthemeofthe The EcstasyofDogBetty, DogBettyTraffics Dog BettyTries toMakeNewFriendsinthePark 2.2 The performative animator 2.2 Theperformative ), homosexual Dog Bettyin 37 ) ------2. Production: The animator as performer that theyare creating. overview of the process of animators acting out, with, for andthrough the characters In the next section, I will examine these ideas in more detail and present a historical with theecstaticcultofGreek godDionysusattheoriginsofWestern theatre. mask andpuppetry. Furthermore, Ibegantolikentheirrationalworldofcartoon mask andtopositionanimationasapracticeof‘constructed-actors’ confines oftheflatscreen, tocompare the animationofacharactertoassuming I begantoconsiderhowcharacteranimationcouldtakeaphysicalformbeyondthe consideration of animation asaconceptualact rather thanapurely technical process. or doesappearancemaskahiddentruebeing? sumed likeadisguise.Forwhatisbehindthemask?Is‘being’sameas‘appearing’ with thesignifiersoffemininityreveal behindtherole theartifice andthatitcanbeas of appearance,asdecorativeobjectsdesire. Dragqueensintheirmasquerade nificant. Itiscommonplaceinourculture thatwomenare level judged onasuperficial it through repetitive rituals. Butler finds the concept of masquerade sig- performative Indeed, sheargues, ouridentityissotenuousthatwemustcontinuallymanufacture rather thanarigiddichotomybetweentwoessentialandmutuallyexclusiveopposites. der identitiesallreveal gendertobeacomplexmassofpolymorphouspossibilities nor essentialbiologicallydestined.Hermaphrodism, transvesticismandtransgen Butler argues thatgenderisanideologicalconstruct thatweactout.Itisneitherfixed identity offemininity. In masked performers. ItisinthissensethatIusetheterm. masked performers. World Survey 1 2 Routledge, 1999),171-180. The experienceofdressing characterwasafirststeptowards upasacartoon a Judith Butler, I haveadoptedthisexpression from EileenBlumenthal, (London:ThamesandHudson,2005)where sheusesit torefer toboth puppetsand Gender Trouble: FeminismandtheSubversionofIdentity Gender Trouble: FeminismandtheSubversionofIdentity 2.2 The performative animator 2.2 Theperformative Puppetry andPuppets:AnIllustrated (London;NewYork: 2 thatisrelated to 38 1 , - - 2. Production: The animator as performer S ancestors lived humanexperienceintotherealmofextra-daily symbolic andcontextualworlds.Withthisuseofmasks,performersgobeyond and improvefertility spirits to gobeyondeverydayrealityand,amongstotherpurposes,communewith 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview similar claims forpuppetsandtracestheiroriginstoancient religious drama. of theTheatre, Figure 8.ARangdadancer. This character isawidowandchild- 2 NB.Thisisintendedasthematicratherthanstrictlychronological. 1 7 6 5 4 3 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview eating demonqueen.Bali. and extendingtheirbodieswithmasksbodycoverings.Theseareused ince thedawnoftimehumanbeingshavebeendisguisingtheirappearance Andreas Lommel, Edward Gordon Craig, Ibid., 26. Ibid., 93. Ibid., 117. Ibid., 77. 2 , toscareawaydemonsthatcausesickness 4 , torepresentdivinitiesinreligiousdrama the Victoriantheatricalreformer,EdwardGordonCraig,makes Masks: TheirMeaningandFunction 6 . Masksareusedtocommunewithspiritual,supernatural, On the Art oftheTheatreOn theArt women inpolygamoushouseholds. the relationship betweenmenand to explore moral issuessuchas puppet is used in Bamana drama character.virtuous Thisfullbody Figure 9.Yayoroba, abeautifuland (London:Mercury Books,1962),81. (London:FerndaleEditions,1981),58.

3 5 , tomergewithtotemic , tochangetheweather Sumatra. the deceasedinafterlife. The puppet’s ‘prayers’willaid death ofmenwhohavenosons. puppet, usedtobemoanthe Figure son’ 10.An‘artificial . Inhisbook On theArt 1 39 7

2. Production: The animator as performer mystery andthemiraculous. for projecting images onto smoke and mirrors ancient templesarealsoreputedtohavebeen the originatorsof techniques accepted tobeattherootofcontemporaryshadowpuppetry. In Bali,thepracticeofchannellingspiritsbyhealersandshamansiscommonly the ‘vieweris“rebuilt” inaccordance withtheformsnotofpresent, butthoseof returnsof escapismthat:‘artificially theviewertostageofsensuousthought’and Eisenstein argued thatthissuspensionofthenormallawsphysicsinstilledaform display ‘changeability, fluidity, suddenness of formations’ squash, transformandmutate.Disobeyingnormalphysicallogicallaws,they inwhichconventionalrulesdonotapply.the cartoon, Animatedcharactersstretch, nihilation oftheordinary boundsandlimitsofexistence” of thetheatre. Hisdescriptionofthe“ecstasyDionysianstate”withits“an ters of form’ quality of the cartoon bodyas‘plasmatic’ quality ofthecartoon 2 51. LeonRubin andI.NyomanSedana, 1 7 6 5 1988), 21. 3 4 1995), 23. In 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview The Birth ofTragedy,The Birth cf. Barnouw, Ibid., 21. Ibid. Ibid., 4. Fredrich Nietzsche, Sergei Eisenstein, of theevolutionaryladder, attachesitselftoanyandallformsofanimalexistence. ‘stable’ form,butcapableofassuminganyformand,which,skippingalongtherungs nite appearance,andwhichbehavesliketheprimalprotoplasm, notyetpossessinga …a beingrepresented indrawing,abeingofdefiniteform,whichhasattaineddefi- to dynamicallyassumeanyform. …a rejection ofonce-and-forever allottedform,freedom from ossification,the ability 5 . In his notes on Disney cartoons, Sergei. In his notes on Disney cartoons, Eisenstein defined this protean The MagicianandtheCinema Eisenstein onDisney The Birth ofTragedyThe Birth Friedrich Nietzschetracesreligious ritualastheorigin Performance inBali Performance 6 , ed.JayLeyda,trans.AlanUpchurch (London:Methuen, , trans.P. Fadiman(NewYork: Dover PublicationsInc, , 27. . 2 (London;NewYork: Routledge, 2007), in order to heighten a sense of 4 3 and‘triumphoverthefet soundsliketheworldof 1 Thepriestsof 7 40 - - 2. Production: The animator as performer theatre, containedchorusesof oftheDionysianrituals,whichevolvedintowhatwenowcall The maskedperformers are both animal and human ture ofanimation.Eisensteinsawanimationasaformanimisminwhichcharacters primordially sensuousperception’, toapre-logical stateofmagicandpure sensation. ence the of rawtruth,nature andsexuality. According toNietzsche,fortheancientGreek audi the satyr.’ and nature intheirmost potent form – andsohesees himself metamorphosed into would imaginethemselvesasoneofthechorus:‘…theDionysianGreek desires truth against grey, regulated livesinaprocess similartotheDionysianstate. recalls Nietzsche’s descriptionoftheDionysian: He evengoessofaras to describethepleasure inamannerthat ofDisneycartoons tion of stage magic, music hall acts that involved live cartooning, puppetry,tion of stage magic, music hall acts that involved live cartooning, comedy, upon arangeofinfluencesfrom andevolved from popularentertainment acombina many linksbetweenearly animation, stagemagicandmusichall.Early animation drew rootscommon intertwined inreligious ritual. of theimagination,Iwouldliketoargue thatanimationshares withliveperformance worlds dition tothemannerinwhichanimation,maskandpuppetrycaneachportray 5 3 2 1 4 Connections between animation and live performance canalsobeseeninthe Connections betweenanimationandliveperformance 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Ibid., 94. Nietzsche, Ibid., 42. Ibid., 94. Eisenstein, object: literalizedandformalized. Their comicalityliesinthefactthatthisprocess ofecstasyisrepresented asan (the immersionof In termsoftheirmaterial,Disney’s pictures are pure ecstasy-allthetraitsof satyr 3 Anthropomorphism, suchasisseeninthefigure ofthe The Birth ofTragedyThe Birth Eisenstein onDisney chorus wasinthepositionof‘idealspectator’andspectator self innature andanimals,etc.) 4 . For him, this represented a revolt of magicalescapism satyrs , 25. , 44-50. 2 : hybridcreatures ofmenandgoats,archetypes satyr , isakeyfea 5 Thus,inad 41 1 - - - -

2. Production: The animator as performer film from the stage. Georges Méliès, arguably one of the greatest innovators in early 1896, heintroduced filmsintotheprogramme andprovided acommentaryoneach were aimed at exposing the practices of fraudulent spiritualists and mediums. ‘England’s HomeofMystery’-from 1873-1904,where hestagedmanyillusionsthat magician andillusionist,JohnNevilMaskelyne,wasinresidence attheEgyptianHall- tion andcinema,asmanyoftheearlypioneershadaconnectionwithstagemagic. connections betweentheworldofstagemagicandemergence ofbothanima comic strips Pictures’ 1898 ofatechnicalstudytheemerging technologyof‘theProjection ofMoving The placeoffilmintherepertoire ofthestagemagicianisshownbyinclusionin create illusionssuchasdecapitationsorpeopleturningintoskeletons. projected imagesontoglass,gauzeorsmokefrom concealedmagiclanternsto perimented with chemistry, their illusions. They optics and photography to support lage halls,salonsandfairgrounds -theatres,sites ofpopularvarietyentertainment musichalls,amusementparlours,vil Indeed, the earliest films and animations in the 1895-1901 period were screened in 1 victorian-cinema.net/maskelyne.htm (accessedJune25,2009). 7 Publications Inc,1976),488-516. 5 victorian-cinema.net/venues.htm (accessedJune25,2009). 8 6 4 3 Georgia: Georgia InstituteofTechnology, 2010),16. Cognition Approach totheAnalysisandDesignofGenerativeInteractiveAnimation”(PhDThesis, kind oftraditionalChineselantern),andhandscroll painting’.cf.KaNinChow, “AnEmbodied karakuri (akindofJapanesemechanicalrobot developedintheEdoperiod),pacing-horselamps(a examples ofinfluenceupontheemergence ofanimation:‘shadowpuppets,humanoid automata, 2 For about a century before the advent of the cinema, stage magicians had ex 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Crafton, Barnouw, Barnouw, John Barnes,“JohnNevilMaskelyne,” A.Hopkins, Albert ‘Cinemas’,” Luke McKernan,“Victorian Barnouw, These are mainly Western precursors ofanimation.KaNinChowcitesthefollowingAsian 6 asachapterattheendofAlfred A.Hopkins’s manualonstagemagic. 1 , opticaltoysandphotographictrickery. Before Mickey:TheAnimatedFilm1898-1928 The MagicianandtheCinema The MagicianandtheCinema The MagicianandtheCinema Magic: Stage Illusions, Special Effects andTrickMagic: StageIllusions,SpecialEffects Photography 4 -thatwere alsothe samevenuesformagicacts. Who’s Cinema Whoof Victorian Who’s Cinema Whoof Victorian , 3-4. , 54-8. , 3. , 47. 2 Inparticular, there are complex , 1996,http://www. , 1996,http://www. (NewYork: Dover 7 TheBritish 8 From 42 3 5 - - -

2. Production: The animator as performer Figure 11. 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview The IllusionoftheDecapitated Princess Figure 13.Front CoverofTheMagician,February1907.LibraryCongress. , 1898. Figure 12. The IllusionExplained , 1898. 43 2. Production: The animator as performer from stagemagic: his laterfilms.EricBarnouwargues thatthelanguageofearlyfilmborrowed heavily where from 1888hecreated majorstageillusionsthatwere asource ofinspirationfor movement withouthumanintervention.DonaldCrafton notesthereception ofthe thur MelbourneCooperfeatures matchesthatmagicallyappeartohaveautonomous citizens todonatematchessoldiersintheBoerWar. of magically manipulated objects. The first recorded animation is an appeal for British ‘manipulated movingimage’and,therefore, animation. techniques andopticaltrickerythatacontemporaryunderstandingwoulddefineas between the‘real’ worldandphotographicimagery. Theydidsousingstopmotion 1884 tolearnEnglish. film making,wasafrequent visitortotheEgyptianHallwhenhecameLondonin break identified in the indexical link that Roland Barthes Pioneers suchasGeorges stagemagic,learnedhowto Méliès,skilledinVictorian Figures 14&15.Georges Méliès,dir. 0 Barnouw, TheMagicianandtheCinema,98. 10 victorian-cinema.net/melies.htm (accessedJune25,2009). 9 Stop motionanimationinheritsboththetraditionsofpuppettheatre andtheillusion 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview David Robinson,“Marie-Georges-Jean Méliès,” a centuryofscientificmagic. models, rear projections, mirror images-were familiartothefirstfilmmagiciansfrom - dissolves,fades,substitutions,doubleexposures, superimposures [sic.],masking, Most technicaldevicesthatbecamecharacteristicofmotionpicture specialeffects 9 Onhisreturn toParis, hetookovertheThéâtre Robert-Houdin, L’homme alaTêteenCaoutchouc 10 Who’s Cinema Whoof Victorian Matches Appeal Camera Lucida (The ManwiththeRubberHead), , 1996,http://www. (1899)byAr as existing 1902. 44 - 2. Production: The animator as performer nis Gifford suggests that other lightning sketch artists couldnotdrawasquickly nis Gifford suggeststhatotherlightningsketchartists which pre-dates thefirstfilmprojections bytheLumière Brothers laterthatyear. Moving imagesofTom Merrywere alsocreated fortheKinetoscope machine in1895, stone, andotherpoliticallytopicalfigures IIandBismarck. suchasKaiserWilhelm down as well as at speed, drawing caricatures of the former Prime Minister, Mr Glad part oftheirskills. part there were around doingthisact,someofthemlistingventriloquismas 100artists 1895 by Birt Acres.1895 byBirt tween 1870-80 into aliveevent.The lightning sketchactappears to haveoriginatedinEnglandbe the‘lightningsketch’stageactanditsextensionofsatiricalcartoon performance: trick andtheconstructed-actorofmaskorpuppetry. This demonstrates how animation can beseen as a continuation of boththe magic animation: of diversion,whichdistractsthespectatorfrom howthetrickisdone,toactof stress the link between stage magic and animation. He compares the magician’s act ‘spooky’, ‘hypnotic’. earliest animatedfilmsasbeingdescribedbywords fullofthesupernatural:‘haunted’, 2 Crafton,Before Mickey:TheAnimatedFilm 1898-1928, 32. 1 7 www.victorian-cinema.net/merry.htm (accessedJune25,2009). 6 5 4 Animation Studies22ndannualconference, Edinburgh, 2010). 3 The earliest examples of cartoon ordrawn animationareThe earliestexamplesofcartoon alsoderivedfrom live 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Purves, Cook, “TheLightningCartoon.” Dennis Gifford, “Tom Mecham),” Merry(William Cook, “TheLightningCartoon.” Crafton, (paperpresentedMalcolm Cook,“TheLightningCartoon,” atAnimationEvolution: Societyof audience hasn’tseenus,buttheyseethetrick.Thepuppetappearstohavemoved. rearranging everythingbefore steppingoutagain,asifnothinghadhappened.The as bothmagicianandglamorous assistant,tostepinandtinker with thepuppets, black framethatdoesnotregister withtheaudience,andallowsanimator, acting For animators,thatmomentofdistractionisthere twenty-fiveframesasecond…It’s a Stop Motion:Passion,Process andPerformance Before Mickey:TheAnimatedFilm1898-1928 3 and was a ‘hybrid of graphic and performing art’. andwasa‘hybridofgraphicperforming 5 Thefirsttimealightningsketchactwasfilmedappearstobein 1 6 This act was performed byTom Thisactwasperformed Merry, whocoulddrawupside Contemporary puppetanimator, BarryJCPurvescontinuesto Who’s Cinema Whoof Victorian , 48. , 3. 4 Between1880-90 , 1996,http:// 7 Den 45 2 - - - 2. Production: The animator as performer of politicalfigures and Bismark.In his 1900film such as Chamberlain, Queen Victoria also experimentedwiththelightningsketch,filmingin1896speeded-upcaricatures sketch vaudevilleact, caricatures, ofcomicstripsandpolitical Anotednewspapercartoonist mation asperformance. is turnedintoalivingfigure. cess anditisfrom animationwasderived. this simpleactthatcartoon Consequently, stop-frametechniqueswere introduced tospeedupthedrawingpro Tom Merry, whichwasaproblem becausefilmreels were standard ashort, length. Nemo in Slumberland Le Livre Magique ing Britishanimator, Walter S.Booth,alsohadabackground instagemagic. making a bet that in one month he can produce 4,000 ink drawings that will move. filminitsownrightandscreened ofastageact.ThefilmshowsMcCay short aspart later heshowsadrawingoftheleading characters inthe filmed footageinwhichanassistantknocksoveragiantpileofdrawings.Onemonth His companionslaughathim.Thefilmdwellsontheanimationprocess incomicstyle 1906 film, ing coloured chalks,tomusicalaccompaniment he drew for the New York Times. made ofthenoveltyandsheeramountworkinvolvedinanimationprocess. films much is incorporate animation into his stage act. Both on stage and in his short ‘Watch me move’ anditthenturns somersaults. Thisemphasisestheinnovation of Thiscomicstripwasalsousedasthesource foranoperetta thattoured from 1908-1910. 6 Films andBFI(USA,1911). 2 1 5 4 3 In the USA, Winsor McCaypioneered animationandani In theUSA,Winsor bothdrawn,‘cartoon’ 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Crafton, Gifford, “Tom Mecham).” Merry(William Winsor McCay,Winsor Ibid., 89-129. Ibid., 48-51. Hand of the Artist

he coulddrawwithgreat skill,atspeed.In1906hebeganalightning Before Mickey:TheAnimatedFilm1898-1928 , the artist turnedfullsizeddrawingsintoreal, theartist people. Winsor McCay:AnimationLegend Winsor (1911), the adventures of a boy in his dreams, was both his first Seven AgesofMan, , which exists as a catalogue description only, a drawing 6 A sign appears above the character’s head saying consisting of two daily performances us consistingoftwodailyperformances , Connoisseur / Academy Video from, Connoisseur/AcademyVideo Argos 4 . Fascinatedbymotion,hebeganto , 51. Little Nemo comicstripthat 1 George Méliès 2 Thepioneer 3 Inhis Little 46 5 - - - -

2. Production: The animator as performer in its own right. Just as in McCay used the animation as part ofhisvaudeville actattheColonial. McCay usedtheanimationaspart ofmovementthroughthe portrayal drawing.Afewdaysaftertherelease ofthefilm, Figures McCay, 16&17.Winsor dir. carries him off screen.carries himoff tamer andthencautiouslystepsintoGertie’s mouth.Sheliftshimonto herbackand returns onthescreen versionofhimself.Hebrandishesawhiplikelion asacartoon appleinhermouth.Inthefilm’scatches acartoon and finale,McCaywalksoffstage an appleand,justasthereal applegoesbehindthescreen, dinosaur thecartoon dinosaur:hetossesGertie rates physicalinteractionbetweenhimselfandthecartoon interacting with Gertie andsimpleactingbyproxyinteracting withGertie through thefigure ofthedinosaur. ashimselfintherole the animation,amatrixedsymbolicperformance ofentertainer whilst in the act of creatingterms, McCay demonstrates a non-matrixed performance same livestagespace.Theprocess oftheact.InKirby’s ofanimationitselfis part ofanimation.Inhiswork,animatorandanimatedoccupythe author andperformer involved increating an animation.Inthefilmof mator in response to a bet. Both films include some shots of the production process the animationispresented asbeingaseeminglyimpossiblefeat,produced bytheani stage ‘patter’forthefilmedversion.Anothersimilaritybetweentwofilmsisthat 2 1 Gertie theDinosaur Gertie Winsor McCayisanexampleofashowmananimatorwhoclearlymarkedasthe Winsor 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Ibid., 176-7. John Canemaker, Winsor McCay:HisLifeandArt Winsor 2 (1914)wascreated ofastageactandasfilm asbothpart

Little Nemo Gertie theDinosaur Gertie , a filmed prologue replace and intertitles the , 1914. (NewYork: HarryN.AbramsInc.,2005), 177. Gertie theDinosaur,Gertie McCay incorpo 1 47 - - 2. Production: The animator as performer the surrounding furniture…’ own world,thatoftherectangular frameonwhichheisdrawn,andclimbingallover review from 1920intheNewYork Times:‘…hehasanexcitinghabit ofleavinghis worldandthe‘realof thecartoon life’animator’s studioasshownbyacontemporary reference totheprocess ofanimation.Thiscreated atensionbetweentheboundaries character ‘outoftheinkwell’wasakeyfeature ofthesefilmsinaknowing,reflexive such detail as in the earlier work of McCay. The hand of the animator producing the drawing hiscreation. Although referred to,theprocess of animation was notshownin of liveactionfootage,interactedwiththeanimator, intheactof whowasportrayed ible and began to be thought of as performing throughible andbegantobethoughtofasperforming thecharacterproduced by Felix theCatandMickeyMouse.Crafton concludes thattheanimatorbecameinvis in theformofincreasingly complexandindependentanimatedcharacters,suchas ences, thehandthatheldpencilwasdisplacedby‘living’drawingpersonified brothers’ to acipher:thepresence ofahand. animator wasstillmarkedaspresent andincontrol oftheprocess, butreduced down drawings orinanimateobjectswere brought tolife,inasecondphasethebodyof inwhich earliest pioneerswhopresented ofamagicalperformance animationaspart oftheact. part an important animation was an extension of the illusion of stage magic and his own presence was sor McCaywore formaleveningattire, thecostumeofstagemagician.Hisform Along with the otherearlypioneersofanimation – Georges Méliès, Tom Merry – Win 3 Nostalgia Press, 1976),12. 2 newspaper. cf.Ibid.,177. that in1917W. R.Hearst,hisemployer, forced himtogiveuphisactandfocusonworkatthe andhisbiographer,His mainemploymentwasasanewpapercartoonist JohnCanemaker, reports 1 In hisworkontheorigins of animation, Crafton argues thatwhenanimationasaprocess ceasedtobeanoveltyaudi 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Quoted inLeslieCarbaga, Crafton, Unfortunately, McCay’s Winsor animationandstagecareers were bothrelatively lived. short Out of the Inkwell Before Mickey:TheAnimatedFilm1898-1928

3 The FleischerStoryintheGoldenAgeofAnimation series featured an animated clown who, through the use 1 2 Inspired by

Donald Craftonconcludesthatfollowing the , 259. Gertie theDinosaur Gertie (NewYork: , theFleischer 48 - - - 2. Production: The animator as performer Walt Disney, dir. the act of drawing. Jason andtheArgonauts King Kong cat,Julius. worldalongsidehercartoon girl whocouldenteracartoon pre-dated MickeyMouse,DonaldDuck,etc.Thesefeatured Virginia Davis,asareal earliest films,the existed inthesamephysicalspace.AnexampleofthiscanbeseenamongstDisney’s ‘real’ humanactorsandanimatedcharactersinteractingwithoneanotherasifthey pendent ‘reality’ ofanimatedcharactersisespeciallyapparent infilmsthatcombine the animatortofictionalbodyofanimatedcharacter. Thisillusionoftheinde combination of live action and cartoon animation,such as combination of live actionandcartoon animation ofmonstersinfilmssuchas for special effects infeaturefor specialeffects films,forexamplethestop-motionmodelofanapein industry developed,animationandliveactionfilmcontinuedtobeusedincombination (1971). Their biggest box office successinthisformwastheirco-production(1971). Theirbiggestboxoffice with Adventure 4 From AnimeandCGI PenciltoPixel,theHistoryofCartoon, clowninteractingwiththerealseries wasacartoon worldonthescreen. cf.Beck, 3 (London: Ted Tree Smart/Flame Publishing,2004),20. 1 2 Figure 18.Virginia Davis in 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Ibid., 158-9. As opposedtotheFleischerBrother’s KokotheClown,whofrom 1916inthe Crafton, Jerry Beck,ed., , 1924.Promotional (1933).RayHarryhausen,inparticular, becamewellknownforhismodel Alice’s Spooky Before Mickey:TheAnimatedFilm1898-1928 Alice Comedies, poster. 1 Animation Art: From AnimeandCGI Animation Art: PenciltoPixel,theHistoryofCartoon, The site of performance becomes displaced from The site of performance the body of (1963) Richard dir. Williams, Figure Zemeckis/ 19.BobHoskins andJessicaRabbitinRobert 4 . Disneysporadicallydevelopedfeature filmswitha which The SeventhVoyage ofSinbad

were created between1924to1927and Who FramedRogerRabbit? , 19. , 298. Bedknobs and Broomsticks , 1988. Out oftheInkwell Animation Art: Animation Art: 2 3 2 Asthefilm (1958) and

49

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2. Production: The animator as performer Steven Spielberg’s AmblinEntertainment, Kane. high-pitched voiceandcoquettishmannerisms,wasbasedonthemusicalstar, Helen increasingly used as the inspirationforanimated characters. Betty Boop, with her Rabbit, whofamouslysaid,‘I’mnotbad.I’mjustdrawnthatway’. lable Toon Town femmefataleJessica alongsidetheanatomicallyimpossiblecartoon featured BobHoskinsasaprivatedetectiveinvestigatingtheanarchic anduncontrol work afterhisfilmsfirstappeared inEurope in1915. panies, includingGaumontandKinémaExchange,created animatedversionsofhis animation sequences directed byRichard Williams. lin himself Sullivan workedonadozenanimatedCharlieChaplinfilmsinconjunctionwithChap copied CharlieChaplin’s mannerisms. withFelineFolliesin1919,OttoMesmerdirectlyFelix theCatseries,whichstarted Bugs Bunny, forexample,wasreportedly basedon Groucho Marx. recent, characterswere cartoon inspired bysuccessfulactors.Thevocaldeliveryof mated charactersonrecognisable humanmodelscontinuesandmanyother, more popular screen from characters(apart Chaplinhimself).Thepracticeofbasingani Golden AgeofAnimation style andtakingawayheraudience.Amazinglyshelost.(cf.Carbaga, 3 games. impossible femaleisalsoevidentinthefanbaseforLaraCroft characterfrom theTomb Raider tv-sex-poll-737417.html (accessedJanuary42011)).Thisslightlydisturbingfascinationwiththe 100 Greatest Sexy Moments.(cf.JonathanThompson,“UrsulaUndress Tops TVSexPoll,” 2 1 4 7 of Chaplin. Forexamplein 6 5 Independent As personalityanimationbecamemore developed,identifiablelivemodelswere 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview 3 Helen KanesuedtheFleischersandParamountsayingthatBettyBoop wascopyinghersinging Indeed, JessicaRabbitisseenasso‘life-like’thatin2003shecamenumber8Channel4’s Ibid., 276-7. Crafton, Wells, Ibid., 304. CharlieChaplinwasalsohugelyinfluentialonearlyanimation.Severalcom 5 , usingfilmsandphotographssuppliedbyhim.Intheirhighlysuccessful Understanding Animation , November30,2003,http://www.independent.co.uk/news/media/ursula-undress-tops- Before Mickey:TheAnimatedFilm1898-1928 Felix inHollywood , 32.) , 39. (1923), the cartoon catremoves aspoof (1923),thecartoon histailandperforms 6 By1926,FelixtheCatwasoneofmost Who FramedRogerRabbit? , 219. 1 Created inthefilmnoirstyle, this 4 In1916OttoMesmerandPat The FleischerStoryinthe 2 7 (1988) withthe Contemporary The 50 - - - - 2. Production: The animator as performer ence on the first Mickey Mouse film, to characterisation: styleinsilentfilm,asopposedtomorephysical performance naturalisticapproaches great silent comedians. animators still study the body language, timing and set-up of physical gags by the films film andMuybridgephotographs. frame-by-frame detail.Theanimatorsstudiedbothlivemodelsinmotion,slowmotion the workofCharlieChaplin,BusterKeatonandLaurel andHardy, sloweddownin including drawing tutorDonGraham,theDisneyanimatorsexamined performance, study oflifedrawingandmotionanalysisinhisstudio.Undertheinstruction voiced andmodelledonreal celebrities. Animated TV series, like the Simpsons and South Park, continue to feature characters a direct transcription of human movement. The Fleischer brothers invented equip tions aimedtospeeduptheanimationprocess andtocreate lifelikemotionthrough comic business. the Disneyanimatorsevenworkedwithcomedianstodevelopmore sophisticated 1 Animation 4 because itwasfeltthatthisrestricted theanimators’interpretation. the sameactorswere notusuallyusedforbothactingreference andthevoice-overofacharacter, proportions (cf.ThomasandJohnston, to cartoon-like reference forthegirlinSnowWhiteandwasgivenafootballhelmettowearorder toswellherhead 3 fresh inspirationforthecharacterofGoofy. (cf.ThomasandJohnston, 5 2 Live modelswere alsostudiedintheDisneystudios,where Disneyinitiatedthe The early twentieth century was aperiodof rapid mechanisation and newinven 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Steamboat Bill,Jnr cf. Purves, Crafton, Although manyactorswere filmedasreference material,forexampleMaggieBellwasfilmedas An exampleofthiswastheburlesquecomedian,EddieCollins,who brought intoprovide Wells, the eraofsilentlive-actioncinema. gestures posturingandexplicitsignificationofactingin whichechosomeoftheovert Character... ismerely quality, acipherforparticular oftenexpressed inexaggerated , 320). Understanding Animation Before Mickey:TheAnimatedFilm1898-1928 Stop Motion:Passion,Process andPerformance 5 1 and Paul Wells identifies an enduring legacy in animation from the The Navigator , 104-5. 3 DonaldCraftonargues thatthere isaclearinflu Steamboat Willie 2 . 4 ThomasandJohnstonalsodescribehow The IllusionofLife:DisneyAnimation , 297. , 231-5. (1928), from Buster Keaton’s The IllusionofLife:Disney , 114), 51 - - - 2. Production: The animator as performer Mountain suchastheStJamesInfirmarysequenceof dancing characterinBettyBoopcartoons CabCalloway,performers. theAfricanAmerican dancestarwas‘rotoscoped’ fora a glassdrawingboard mountedonaneasel,theyreproduced versionsof cartoon Usingthe‘rotoscope’,life performers. adevicethatcombinedfilmprojector with ment that could beusedto create animation by tracingoverfilmed images of real- Figure 21.MaxFleischer’s Rotoscopepatent,1917. photograph. Figure 20.Max Fleischer and Betty Boop, undated. Publicity Snow White Kong duction process involvestheactorsinabare studiousingtheirimaginationtocreate capture procedure are presented in a fully rendered CGI environment, the actual pro animated charactersforfilmslike character. Inacommercial context,motioncapture software allowsactorsto‘puppet’ the movementsofanactortobedigitisedandappliedacomputergenerated in featuregames and for special effects films, the motion capture process allows mated characteroccurswiththeuseofmotioncapture technology. Usedincomputer is combinedwithimagesofanindexicalpresence thatoncewas. areanimated performance shared withthoseoftheactor. Theprocess ofanimation 1 A similarprocess ofdirect toani transcriptionofhumanphysicalperformance 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview

(2005) Carbaga, (1933) (1933)aswellfor as wellformanycomputergames.Althoughtheresults ofthemotion The FleischerStoryintheGoldenAgeofAnimation 1 . Intheprocess ofrotoscoping, theanimator’s intentionsbehindthe Minnie theMoocher Lord oftheRings

(1932)and (2001, 2002,2003)and , 32. The OldManofthe

King 52 - - 2. Production: The animator as performer re-animated, affording theanimatorsamuchgreater role thanisgenerallyrealised. the datacreated duringmotioncapture wouldhavebeenextensively‘cleanedup’and tured andvoice-oversofactualstarssuchasEddie Murphy, performance eventhough increasingly feature filmsconsidered asanimationare marketedonthemotioncap who provide themotion capture datainmanyfilmsandgamesremain inobscurity, Whereas animation’ tobeing‘technologically-assistedperformance’. theperformers discursive shiftinmotioncapture movingfrom beingconsidered as‘actor-assisted motion capture andanimation asahybridpracticeofperformance itself.LisaBodehasreferredin theanimationratherthanonperformance to terms of‘realism’: tendingtofocusonthemodellingandrendering technologiesused The results ofmotion capture are judgedinboththetradeandacademicpress in the fantasticenvironment willeventuallybeinscribed. withinwhichtheirperformances more realistic and sophisticated themovements and behaviour expected mustbe. poses thatthemore realistic thecharacter, themore criticaltheviewerisand the not appeartomakesense,asthe‘uncannyvalley’principle usedincomputingpro doesnottranslatewelltoananimatedcharacter.style ofperformance Thisdoes (2001) and Figure 22. Virtual RealityLab,MotionDataAcquisition. Figure 22.Virtual 2 Bournemouth, 2008). Animation Unlimited:The2008SocietyforStudiesConference, Instituteat TheArts 1 Many motioncaptured animatedfilms,suchas 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview The termoriginatesfrom Masahiro Mori’s workonrobots andthepointatwhichtheir Lisa Bode,“MakingFaces:Hybridity, AnimationandtheScreen Actor,” (paperpresented at Polar Express (2004) seem dull and lifeless, suggesting that a naturalistic Final Fantasy:TheSpiritsWithin 1 . Shepointstoa 53 2 - -

2. Production: The animator as performer life force. situation inwhichrealistic motion,hand-tracedfrom filmreference, lackedtheelusive Disney studios, studios asaresult of usingtherotoscoping process. Intheircanonicalbookonthe However, thisphenomenonhadbeenobservedmany years previously attheDisney lacking inthe‘illusionoflife’. former from filmproduced workthatwas‘tightandrestricted’, andunnatural’ ‘stiff animators, intimetheygrew tobelievethatdirectly tracingtheactionsofaliveper limited byhisbody, onlybyhisabilityand,perhaps,experience.’ isanactorwhonot anartist to junioranimators:‘Drawingisgivingaperformance; developing intheDisneystudios.TheyquoteanimatorMarc Davisgivingadvice ‘the animatoristheactorinanimatedfilms’ human biology. squash, stretch, exaggerateandotherwisedefytheconventionallawsofphysics thatcanbereferredperformance inwhichanimatedcharacters toas‘cartoonal’, characters with‘life’.Thisproduced aheightenedandexaggeratedtypeofanimated studios, therefore, evolvedaseriesofextra-dailyrulestheybelievedimbuedcartoon use oftechniqueslike‘squashandstretch’ tomakeitmore ‘realistic’. TheDisney andexaggerationthrough Theyneededtoaddatouchof artifice the performance. animation in orderinto the language of cartoon to produce an emotionally engaging Disney style of performance throughDisney style of performance the drawn line was derived from years ofex their animatedfilmsandcharactersdemonstrateastyleofcomplexacting.The the Disneystudiosdevelopedmanymethodstoincrease thedegree ofrealism within 1 (Plymouth: LiquidPress; i-DAT, 2007),94). andCharacterDesign,”in Realism inVisualisation resemblance tohumansbecomesdisturbingandsinister. (cf.HarryBrenton etal.,“UncannyValley: 4 3 2 The ideathattheanimatedcharacterisanextensionofanimatorand 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Thomas andJohnston, Ibid., 66. Ibid., 18. Ibid. 1 Although filmed performance hadbeenausefulreference Althoughfilmedperformance fortheDisney The IllusionofLife, The IllusionofLife:DisneyAnimation 2 Theaction,theynowbelieved,neededtobetranslated ThomasandJohnstondescribetheparadoxical Swanquake: TheUserManual 3 isshownbyThomasandJohnstonas , 323. , ed.ScottdeLahunta 4 Overtheyears, 54 - - 2. Production: The animator as performer the applicationofLaban’s movementtheoriestoanimation combat this,theanimatorandLabanmovementanalyst,LeslieBishko,haspioneered technique thatislearntbyrote ratherthangrounded inacriticalanalysisofnature. To like behaviour rulesforthesimulationoflife- principles havebecomecodifiedintotwelveorthodox and movementreference, butalsocreated thevoiceforMickeyMouse. According toThomasandJohnston,Disneynotonlyprovided physicalperformance experience. This leads to a ‘limiting vocabulary’ nical methodologies thatrefer tothecanonof‘classical’animationratherthanlived of animatedmovementsthatare produced according totraditionalformulaeandtech Disney filmsratherthananobservationofthenaturalworld.Thisleadstocreation and repeat themintheirwork,referencing examplesofsimulatedmovementfrom characters with‘life’. and evolvedintoaseriesofuniversalprinciplesthatwere believedtoimbuecartoon perimentation, studyandobservationinlifedrawingmovementanalysisclasses as reference forMickeyMouse’s asSergei performance, Eisensteinobserved: used their own bodies as points of reference for their animation. Disney himself acted 2 1 6 Publishing, 2008),9. 3 5 Secondary action;9.Timing;10.Exaggeration;11.Soliddrawing;12. Appeal.(cf.Ibid.,47). to-pose; 5.Followthrough andoverlappingaction;6.Slowinslowout;7.Arcs ofmovement;8. 4 Although originallydevelopedinresponse toobservationfrom real life,theDisney 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Eisenstein, Ibid., 47-69. Leslie Bishko, “The Uses and Abuses of Cartoon StyleinAnimation,”ed.Nichola Dobson, Leslie Bishko,“TheUsesandAbuses ofCartoon Thomas andJohnston, Paul Wells, JoannaQuinnandLesMills, These are: 1.Squashandstretch; 2.Anticipation;3.Staging;4.Straightaheadactionandpose- zation ofthedrawingonlybecausetakenfrom alivingperson. lifelike preparations are forthecartoon ready –infectiousthrough thewholehyperboli- ous expressions boss.Andtheextremely oftheirposingandperforming livelyand standaroundthat film.Adozenorsoartists himinacircle, quicklycapturingthehilari or‘role’method isasfollows:Disneyhimselfactsoutthe‘part’ ofMickeyforthisor ease ofgesture andelegance.Notatallsurprising…Aslaterbecomes clear, his There’s undeniablysomethingofhisownhero inhim.Mickeyhasthesamegrace, Young andwithasmallmoustache.Very elegant.Theeleganceofadancer, I’dsay. 4 . Ihaveobservedanimationstudentsworldwidememorisetheserules Eisenstein onDisney 1 Severaloftheanimatorsalsoenrolled inactingclassesand The IllusionofLife:DisneyAnimation , 1. Basics Animation:DrawingforAnimation 5 and the developmentofmechanistic , 77. 6 . Sheargues thatalltoo 2

(Lausanne:AVA 3 55 - - 2. Production: The animator as performer Life with fargreater accuracy thanreferences totheaforementioned twelverules. produce. TheterminologyofLabanMovementAnalysisisabletodescribemovement and theconceptualframeworktodescribemovementsthattheywouldlike pressive characterisation.Animationdirectors canlackboththeaccuratevocabulary often thetwelverulesofDisneyare appliedmechanisticallyanddonotproduce ex of animation. acting techniquesusefulforthedevelopmentofcomplexanimatedcharacters Method todevelopabroader frameofreference foranimation.We havefoundMethod a rangeofapproaches, from LabanMovementAnalysis,Lecoq,Stanislavskiandthe weuse the MA/PostgraduateDiplomainCharacterAnimationatCentralSaintMartins, animation cliché and seek inspiration in physical theatre and dance techniques. On Complicité, DramaCentre andtheCentralSchoolofSpeechDramatogobeyond movementdirectorsworking withperformers, andchoreographers from Theatre de its peakwiththe in theirownbodiesandare, thus,betterabletorepresent thismovement. reference -thestudentshaveexperiencedwhatactualmovementwouldfeellike not usedforthepurposeofdirect transcriptionorrotoscoping, butasakinaesthetic Thisis aged toactoutthemovementsthattheywanttheircharactersperform. that encouragealarger andmore exteriorstyleofexpression. Studentsare encour body.well inacartoon Hence,weare exploringarangeofphysicaltheatre traditions thatdonotsit ever theycanleadtoovercomplicatedandinternalisedperformances Hallam University, April2004). 2 Heinemann, 2000). 1 animation/#more-37 (accessedMay62010). http://journal.animationstudies.org/2007/12/09/leslie-bishko-the-uses-and-abuses-of-cartoon-style-in- Animation Studies-Peer-reviewed OnlineJournalforAnimationHistory andTheory With his book, With The exaggerated cartoonal stylethatwas initiatedattheDisneyStudiosreachedThe exaggeratedcartoonal and the work of Bishko, Ed Hooks popularised the concept that acting is a part andtheworkofBishko,EdHookspopularisedconceptthatactingisapart 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Kevin Rowe, “Acting to Animate: A Cartoon Method”(paperpresentedKevin Rowe,“ActingtoAnimate:ACartoon atPixelRaiders2,Sheffield Ed Hooks, 1 At Central Saint Martins, wehavebeendevelopingthisideathrough AtCentralSaintMartins, Acting for Animators: A Complete Guide to Performance Animation Acting forAnimators:ACompleteGuidetoPerformance Loony Tunes Acting for Animators and Merry Melody , which draws heavily on both animationscreated byWarner Broth 2(2007):24, (Portsmouth: NH: (Portsmouth: The Illusion of 2 , how 56 - - - - 2. Production: The animator as performer Seville characters. Citingexamplessuchas vaudeville actsandhowanimatorsstudiedthemovements ofactorstoinspire their ers. Ihavepreviously mentionedconnectionsbetweenanimation,musichalland excess oftheanimatedcharactersinclassic PgDipCharacter Animation,2007.NationalGallery,Martins London. Figure 23.Theatre deComplicitéphysicaltheatre workshop directed byAnnabelArden forCentralSaint 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview (1950), Alex Evans sees a particular nostalgia for vaudeville in the cartoonal nostalgia forvaudevilleinthecartoonal (1950),AlexEvansseesaparticular of therhythmicallyderivedpatternsmusichallandburlesque routines, evenwhen consistentlyreferenceThe cartoons thephysicalityandrigidlogicism (andalogicism) What’s Opera,Doc? Loony Tunes: (1957)and The Rabbitof 57 2. Production: The animator as performer erasure oftheatre.’ takeplace,quitematerially,halls intocinemas.Thus,‘cartoons atthesiteof longer features from inbuildings thathadbeenconverted formertheatres ormusic made, they would have been produced to be shown in cinemas alongside as shorts He pointsouttheirony animationswere ofthisnostalgiaas,atthetimethesecartoon The GirlCan’tHelpIt Loony Tunes not restricted toanimatedcharactersbutcanbeusedbyhumanactors. Mirochnikov’s thatis asastyleofphysicalperformance workhighlightsthe‘cartoonal’ intheactorshedirects.Mirochnikov toinformphysicalperformance usescartoons ing. asaparadigm for goingbeyondnaturalisminact uses thecartoonal Saint Martins, his workinliveactionfilm.Intheatre, OlegMirochnikov oftheDramaCentre, Central a contemporarydirector whowastrainedasananimatorandbringsthisaestheticto whoisanexampleof canalsobesenintheworkofTimBurton, film performances excess. Alinkbetweenanimationandliveaction with aphysicalcomedyofcartoonal field andJerryLewissimultaneouslyactoutsatirizelarger thanlifecharacters tors imitatingconstructed-actorsare notlimitedtothefieldofanimation.InBalinese acting styleemployedintheliveactioncomedyfilmsthathedirected. Infilmssuchas from hisyearsofexperienceworkingonWarner Brothers tothecartoonal cartoons Eddie MurphyandJimCarrey. Thefilmdirector, FrankTashlin, demonstratesalink suchasJerryLewis,JayneMansfield, turn, influencedtheactingstylesofperformers Final Report 3 2 1 / FilmQuarterly animation, ratherthatitisastylewhichcanseenasuniquelyderived from it. incharacter istheonlystyleofperformance Idonotwishtosuggestbythisthatthecartoonal 4 As ifinafullcircle, vaudevilleinfluencedthescrewball styleofanimationinthe 3 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview Inspired byVakhtangov’s radicalre-evaluation oftheuseStanislavski’s system, Alex Evans,““Allright:where amI?”LoonyTunes AnimationasModernistPerformance,” Oleg Mirochnikov, Ibid. they donot-assooftenrepresent theseactsoftheatre inthemselves. , Unpublished (London: University of the Arts London,2007). , Unpublished(London:UniversityoftheArts , suchastheworkofanimationdirector Tex Avery, whichhasclearly, in 35,no.1(2007):385. 2 (1956)and UAL Teaching andProfessional Fellowship2006-7,TheVakhtangov Technique: Will SuccessSpoilRockHunter Will

(1957), JayneMans 4 Humanac Literature 1 58 - - - 2. Production: The animator as performer Figure 24.AJavanese pets. wayang wong veloped through astudyof‘real’ actorsandtheuseofanimator’s ownbodytoact of theanimator. complexactingwasde Personalitycharacteranimation portraying at theDisneyStudios,andanimatedcharactercame tobeseenasanextension became more sophisticated, anotionoftheanimatorasactordeveloped,particularly footage of‘real’ actors asiftheyinhabitthesamespace.Asanimatedperformance in the emergence of films in which animated characters are combined with live action This is evident fictional, animated character is shown as if autonomously performing. the animatorbecamedisplacedascentralfigure intheactofanimationand cinema replaced themusichallandvaudevilleasasiteofpopular entertainment, mance inthetraditionofillusionsstagemagician.Astimepassedand animation, the animator is marked as a showman and author of an animated perfor between theliveillusionsofstagemagicandearliestanimationsonfilm.Inearly mysteries oflifeandtheworldsupernatural.Adirect lineagecanbetraced the extramundane roots that used constructed-actors to portray in ritualperformance cf.LeonRubinandI.NyomanSedana, 1 In thissection,Ihaveargued havecommon thatanimationandliveperformance 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview character Dewasranifrom theMahabharata. 1 performance, literallytranslatedas‘humanpuppet’,actorsmimicpup performance, wayang kulit puppet ofthe Performance inBali Performance Figure 25.A actors mimickingpuppets. derivedfrom1920. Thisstyleofperformance live ofArjunafromthe part theMahabharata,circa , 12-3. wayang wong (‘humanpuppet’)playing 59 - - - 2. Production: The animator as performer puppets are combined inaliveevent. I willnowgoontoexamineacasestudyofanimationtheatre inwhichanimationand mance beyondtheworldofanimationthathasbeenadoptedby‘real’ humanactors. to vaudevilleandsilentcomedy. canalsobeseenasastyleofperfor Thecartoonal developedwithlinks style ofperformance to lack‘life’andsoanunnaturalcartoonal movement intoanunreal worldthrough cartoon theprocess ofrotoscoping appeared out movementsforkinaestheticreferences. Adirect transcriptionofrealistic human 2.3 Historical overview of performance inanimation ofperformance 2.3 Historicaloverview 60 - 2. Production: The animator as performer musical 2.4 AnimationTheatre: interacts liveintheformofashadowonbackprojectionscreen. ist Miwa Matreyek creates complex and beautiful animated worlds in which she shows, sequences for the queer performance artist Ursula Martinez and her trilogy of At thebeginningofresearchprocessin2006,Icreatedmanipulatedvideo liam Dudley’sworkfor spectacular backdrops for West End shows such as in theatre designer Wil becoming commpnplaceandprojectionmediaarenowroutinelyusedtocreate integration ofmovingimageswithliveperformance,suchasinthisexample,is form ofachoirOAPsandenabledMartineztomorphintoanoldlady.The the geographical space of the stage, provided additional cast members in the ally toEdinburgh,Bulgaria,Polandandelsewhere.Theprojectionsextended animations. Othertheatrecompanies-suchasForkbeardFantasy incorporates a rangeofliveactors, puppets andclipsofprojectedcharacter works inwhichsheprojectsanimationdirectlyontoherself. animator, KathyRose,oftenshowsherworkinadancecontext,creatinglive works of animation intowhich they integratetheirownliveperformances.The as mere backdrops, but in interaction with the performers. Other artists create incorporate animationinmorecomplexwayswhichprojectionsareusednot A 4 3 (accessed January42009). 2 2009). 1 performance.html (accessedSeptember15,2010). performance.html 5 (accessed September15,2010). temporary theatricalproductionsthroughtheuseofprojectedbackdrops. nimation andvideoarefrequentlyusedaspartofthescenographycon Kathy Rose, “Performance,” Kathy Rose,“Performance,” 1927, “1927Cabaret,” n.d.,http://www.19-27.co.uk (accessedJanuary3,2011). Forkbeard Fantasy, “Forkbeard FantasyHomepage,”n.d.,http://www.forkbeardfantasy.co.uk cf. SimonMcBurneyetal.,“Projection (seminar, inPerformance” BarbicanTheatre, London, Miwa Matreyek, “Performance,” Me, Me Avenue Q , inspiredbythechildren’stelevisionshow , performedatBITEtheBarbicanandtouringinternation The WomaninWhite. Kathy Rose Semihemisphere Soiled , n.d.,http://www.krose.com/performance.html (Faulty Optic,2003-7) , n.d.,http://www.semihemisphere.com/ 2.4 AnimationTheatre 1

Going beyondscenography,the 4 Similarly,theart Sesame Street, 2 5 and1927 Inthework 61 3 - - - - -

2. Production: The animator as performer clips, automata,scrapsculpture andlivedigitalvideofeedsfrom miniature sets and tic combinepuppetry, pre-recorded livenarrationandfoleysoundeffects, animation thesis. In their book torian spectacles,Medievalreligious dramasandfarearlierbeyondthescopeofthis traced back to the theatre of the Bauhaus, Futurists and Russian constructivists, Vic derland inafantasticalworld. of RoseandMatreyek,theliveanimator/performerbecomeslikeAliceinWon as thephysicaltheatre ofearlyComplicitéandPinaBausch. kinetic sculpture PaulSpoonerandTinguely, suchasthatmadebytheartists aswell such asthosebytheQuayBrothers, SvankmajerandBobGodfrey, automataand is non-verbal, surreal and physical. This was influenced by their interest in animations Theatre inLondonandestablishedtheircompanytocreate puppetryforadultsthat came from abackground inpuppetrythrough workingattheLittleAngelPuppet connotations theyperceived laybehindtheideaof in alivecontext: has pioneered aformof stop motioninatheatricalcontext. Faulty Optic,whichfeatures puppetry, pre-recorded sequencesof animationandlive canbeseenintheworkof An exampleofanintermedialcombinationartforms rary theatre asa‘hypermedium’ Chiel Kattenbelthavecoinedtheterm‘intermediality’ 4 3 2 (Amsterdam; NewYork: EditionsRodopi,2007),29. 1 The useofmulti-mediaprojections intheatre isnotnewandcan,forexample,be Founded in 1987 by Liz Walker and Gavin Glover, the theatre company Faulty Optic Walker, interview. Ibid., 24. Ibid., 37. Freda ChappleandChielKattenbelt,eds., texts, inter-texts,inter-mediaandspacesin-between. media ofcinema,television,videoandthenewtechnologies;creating profusions of Where formsoftheatre, theart operaanddancemeet,interactintegratewiththe Intermediality in Theatre and Performance, animation theatre 2 in which many art formsandmediaare inwhichmanyart combined Intermediality inTheatre andPerformance -atermtheycoinedtogetawayfrom the 2.4 AnimationTheatre puppet theatre 1 tore-conceptualise contempo 3 4 Intheirwork,FaultyOp . Walker andGlover Freda Chapple and , Third. 62 - - - - 2. Production: The animator as performer tiny puppetsbeingmanipulated. The three-tiered stagefeatures afloodedbasementonthelowerlevel.Thetoplevelislivevideofeed of Figure 26.FaultyOptic, Bubbly Beds , 1996. 2.4 AnimationTheatre 63 2. Production: The animator as performer the lensofcamera,butcreated inreal-time. manipulated modelstocreate whatis,inessence,livestopmotionmediatedthrough The centralcharacterintheshowisanamelesspuppetoperatedbytwopuppeteers the references theworkdrawsupon: In hisreview oftheshowforIrishTimes,FintonO’Toole describestherichnessof is describedthus: character inFaultyOptic’s Figure 27.Thenamelesscentral whose mermaidlovehadbeen 2 2010). 1 co.uk/soiled.htm (accessedSeptember17,2010). Touring theUK,FranceandSpainfrom 2003to2007,FaultyOptic’s show mysteriously murdered with Finton O’Toole, Festival,” “KilkennyArts Faulty Optic,“Soiled,”n.d.,http://www.faultyoptic.co.uk/soiled.htm (accessedSeptember17, that movelikeautomata. Kantor’s creations ofthe1970s,itbringstogetherpuppetry, andmachines visualart a seasidePunchandJudyshow, ithaselements ofknockaboutfarce. LikeTadeusz ism. Itsheadisinthetheatre oftheabsurd isattheendofpier. anditsheart Like IthasonefootinEnglishwhimsyandtheothermodernistexperimental- mance art. bolist dramasofMauriceMaeterlinck,silentmovies,surrealist spectacleandperfor- traditions andideas,amongthemtheJapanesekabukibunrakustyles,sym- have anarrativebutnotcoherent plot.Itdrawsonanextraordinarily widerangeof Soiled guilt, loyaltyanddeception. with Teurrets [sic.]disease,aBeckettianinnocentdiscoversdeadlysecret oflove, Through themachinationsofaboxingballerina,soilspittingpsychicandsparrow isextraordinarily todescribeanyonewhohasn’tseenit.Itseems difficult scissors, 2003. Soiled , with mermaidfrom FaultyOptic’s Figure 28.Flashbackanimation Soiled, 2 1 2003. the IrishTimes 2.4 AnimationTheatre , August15,2003,http://www.faultyoptic. from FaultyOptic’s from theunderworldnecropolis Figure 29.Anominousfigure

Soiled , 2003. Soiled 64

2. Production: The animator as performer use animation on stage to allow them to conjure up a past for their puppet characters dressed inblack,pre-recorded animation, livestopmotionandnarrators.They he isexperiencedasacoherent characterbytheaudience. him, feed inanactoflivestopmotion.Despitetheusedifferent mediatoportray animation, aswellaminiature puppetwhosemovementsare projected viavideo by different media:asalivepuppet,inprojection ofapre-recorded stopmotion a grindercrushinghumanbonesandskulls.Themaincharacteristhusrepresented moved bythepuppeteersinaprocess oflivestopmotionthatculminatesinshowing interior world of the necropolis. Inside, small puppets and pieces of machinery are resultant imagesare projected ontoalarge screen, enablingtheaudience toseethe be seenfrom theoutsidebyaudience.Atinycameraismovedinsideand of the mermaid. This is made of old colanders, a dustbin and baking tins and can only which thepuppetdescendsintoanunderworldnecropolis totryrevive thecorpse projection ofpre-recorded animation.Theshowclimaxesinanightmarishsequence resides. enacted bythepuppetanditiswiththisfigure thatthemainattentionofaudience Although thepuppeteersare itis thecombineddualauthorsofperformance, agency ofthepuppeteersproduces theappearanceofcomplexactinginpuppet. Through inwhichtheymanipulatetheirpuppets,the non-matrixedperformances who are visible,butdressed inblack,minimisingtheiron-stagepresence: 1 Faulty Optic’s work combines multiple types of presence - puppets, puppeteers The memoryofthepuppethero’s lostlove–amermaidisshownthrough a Walker, interview. ground. forget thattheyare beingoperated.We justbecomestrangeshadowsintheback- just takeonthissuspensionofdisbelief,sotheywilllookatthepuppetsand the humanbeingsoperatingthem,butIthinkthatevenwithoutthat,audiences the humanbeingsoutandtheyfocusonpuppets.Thepuppetsare litmore than less glovessoweare muchmore present -theaudiencesstillsay, thattheyblock masks andblackclothes-sometimeswedon’thaveonfinger- Audiences havesaidthateventhoughsometimesweblack-out,inwear 1 2.4 AnimationTheatre 65 2. Production: The animator as performer a performance andwhoistheexecutorofthatintent. a performance examine theideathatthere couldbeadifferentiation betweenwhoseintentoriginates thatIwillconsiderinthenextsectionand andperformance between performer andchallenges thenotionofasimplisticcorrelationof authorshipinperformance as coherent andcontinuous.ThiscomplexityinFaultyOptic’s workraisestheissue by twopuppeteersandshownthrough multiplemedia,yetisread bytheaudience side theirliveprojection onascreen. Thecentralcharacter’s iscreated performance complex layering of techniques gives their characters a real physical presence along and theactofanimationisshownasbothpre-recorded andasaliveprocess. This technology. Theanimator/puppeteersare showninthesamespaceasanimated tion toacomplexformofhybridpracticeenabledbydigitalvideoandprojection tion toaudiencefeedback: live stopmotionwhichcanrespond tothelivesituationandinvolveaniterativereac as welltopresent fantasyenvironments, suchasthe necropolis in - theyare abletobringthetwotogetherinanimationtheatre as apre-recorded, linear, filmicformandlivetheatre asacontinuallyevolvingprocess astwoseparateentities-theyseeanimation think ofanimationandliveperformance are interested in creating whole, extramundane worlds on stage. Although Faulty Optic 2 1 Faulty Optic’s workshows acontinuityofpracticefrom puppettheatre toanima Ibid. Ibid. before thepublicseeit,whereas wechangeitforthepublic. you havetomakeallofthosedecisionsthere andthen,before it’s actuallyreleased, are goingalongsothatintheendweare doingitfortheaudience…whenit’s onfilm even ifsubtlydifferent, andwetakefeedbackfrom theaudiencetocreate itaswe tion, becauseweare alwaysworkingonit.It’s different foreverytypeofaudience, theaudience…Ithinkmaybethisiswhyourtheatrewe dofeedoff from differs anima- - weknowwhere weare goingtonext-butit’s alsoalittlebitopentointerpretation… It isaveryorganic process ofcreating theactualshow. isblocked Theperformance 2.4 AnimationTheatre

2 with theirownbrandof Soiled . 1 They 66 - - - 2. Production: The animator as performer I stitutiary that could make inanimate objects come to life. The words turn out to be ‘sub 2.5 Theanimatorasauthor they createhisanimatedalter-ego, in 3.4,describeshowperformancetechniquesareusedbyhisanimatorswhen the humanbody.Comedian,HowardRead,whoseworkiscoveredinmoredetail ‘substitutive’ performance,whereasubstituteorconstructed-actorisusedfor meaning ofanimation.Indeed,animationcanbeseenasasort‘virtual’or In hisbook acter takes,theauthorshipofthisintentionisusually product ofateampeople. Furthermore, althoughthere isanintentionbehindtheactionsthatanimatedchar represents are onestepremoved from thebodyofanimatorthatoriginated them. because the movementsitmakesandpersonality ter hasasenseofartifice, butananimatedcharac easily identifiableastheauthorsoftheirownperformance, by theactualmeansofproduction employedintheindustry. Actorsinthetheatre are at second-hand’. said: ‘everyfilmisakindofdance’andbeingananimatorwaslike‘beingdancer wasexpressedanimation assubstitutiveperformance byNormanMcLaren whenhe creation has become commonplace in characteranimation. For example, a notion of As previously by proxy noted, this notion that an animator performs through their combined withanimation,theplotrevolvesaroundaquestformagicspell n the1971Disneyfilm, 3 2010). (accessedDecember17, n.d., http://www.moviemail-online.co.uk/scripts/article.pl?articleID=276 2 1 Wells, ofNormanMcLaren,”Graeme Hobbs,“‘EveryFilmisakindofDance’:TheArt Howard Read,interviewbyBirgitta Hosea,September3,2010. possibly as important asallthoseisthedubandsoundeffects. possibly asimportant theworkthatanimators doisincredibly but the physicalperformance, important, isveryimportant, thevocalperformance every stage:thescriptisveryimportant, with on somanydifferent animationyouaddanotherlevelofperformance levels.With that you’re expressing through. thejokesandverbalperformance It’s performance I alwaysthinkofitastheanimatorsare actingLittleHoward. He’s apuppetbasically (sic.) Animation: Genre andAuthorship Animation Genre andAuthorship locomotion’, as ifthefilmitselfisonanontologicalquestfor 2 However, iscomplicated theauthorshipofanimatedperformance Bedknobs andBroomsticks , 101. Litle Howard 2.5 Theanimatoras author 3 , Paul Wells hasidentifiedthree levelsof : , inwhichliveactionis 1 Movie MailUK , 67 - - - 2. Production: The animator as performer puppetry such as tion, aswasseenintheworkofFaultyOpticandisalsoevidentotherforms acoherentthe performance, charactercanstillberead from aunifiedcreative inten voiceover recordings. contributed tothecharacter’s through performance providing movementreference or er, dependingontheproduction pipelineused.Inaddition,a‘real’ actorcouldhave hierarchalfurther subdivision,suchasAnimationDirector, KeyAnimator, In-between animate. The animation is then created by a team - either divided as piece work or by -create totheanimator Artist theconceptbehindacharacterandthenhanditoff ‘authors’ -Director, CharacterDesigner, Production Designer, WriterandStoryboard animator that Wells identifies, in the hierarchal factory production system a team of be made by a single auteur, but this is extremely rare. Even in the case of the Intra spondence betweenoneanimatorandcharacter’s Animationmay performance. Thus, inanimationitisextremely unlikelythatthere would beaone-to-onecorre authorship withinanimation: doubles anddubbedvoiceovers:thecharacterofMrs Bates inHitchcock’s A single film character will involve a lead actor, but may also include stuntmen, body a performance leading to asingle character can beseeninbothfilm and theatrea performance Similar examplesofthemultipleauthorship costume incorporatestwoperformers. and Performance 1 the wingsandaudiencedidnotnoticesubstitutions.Purves, rubber costumesandsometimespassedoutintheheat.Similarlydressed understudiesstoodbyin a very, hotsummerandthecastfoundithard inheavy togivephysicallydemandingperformances Even ifthere isnotoneunifyingconsciousnessandembodiedpresence creating Barry JCPurvesrelates theanecdotethatmusical •฀ •฀ •฀ The artist workingasthesoleauteur.The artist The ‘Intra’auteur, withinacollectiveproduction whoseartisanship isac The ‘Supra’animator, ofafactoryproduction part team, theirindividualcon knowledged asamarkofquality–e.g.RayHarryhausen,Richard Williams; tribution subsumedinthecollectivemanufacture ofacoherent product; , 11. bunraku or in the traditional figure of the pantomime horse, whose 2.5 Theanimatoras author Starlight Express Stop Motion:Passion,Process openedinthemiddleof Psycho 68 1 . - - - - -

2. Production: The animator as performer 1994, NationalBunrakuTheatre, Osaka,Japan. intent and (2.) the performance oftheintent. intent and(2.)theperformance theatre, heproposed thatthere are twocomponentstoanydramaticaction:(1.)the coherent characteriscountered theoretically byJiriVetrulsky. Writinginthecontextof inordersciousness behindaperformance forittobeintelligiblethevieweras a (1960) wascreated bythree three. different actorsandthevoicesofafurther Figure 30Multiplebunrakupuppeteersdressed inblackoperatepuppets an objectthattheaudiencewouldperceive asaperformer: of the intent need not be enacted by a human actor: it could be done by performance and motivationsofanactor, sothattheyfollowedexactinstructions.Inaddition,the full control oftheiractions.Adirector couldprecisely choreograph themovements could beenactedbyonepersonormore thanone.Theactorisnotnecessarilyin Being onthePre-Modern Stage Structure andStyle 2 1 Performance andImagination Performance Based onsuchexamples,theideathatthere needstobeasingleunifiedcon Jiri Veltrusky, “ManandObjectintheTheatre,” in Cited inNicholasAbercrombie andBrianLonghurst, must). Anythingthatisa‘componentintheaction,’whetherhuman, animalorobject, need notbehuman,asisoftenassumed(thoughpresumably thefirst,originator, subject also behismere subject’.Thissecondperforming toolandthusonlyapartial ‘whomaybeidenticalwiththebasicsubjectbut the actionandonewhoperforms …a double‘subject’ofdramaticaction–onewho‘originatestheintent’ ed. PaulL.Garvin(1964[1940]).CitedinEdward Burns, (ThousandOaks;London;NewDelhi:SagePublications,1998). (London:MacMillan,1990),211-2. 2.5 Theanimatoras author 2 These two aspects of the performance Thesetwoaspectsoftheperformance A PragueSchoolReaderonEsthetics,Literary Audiences: ASociologicalTheoryof The Teachings forWomen Character Actingand 1 69 , - 2. Production: The animator as performer character takescontrol oftheanimator: concludesthatthe Pig orBugsBunnywhileheisanimatingthesecharacters,Schaffer with theanimator, BobClampett,inwhichhedetailshis process ofbecomingPorky animator herselfortheemerging animatedcharacter. Afterexamininganinterview the animator. Hespeculatesastowhoisincontrol oftheanimatedmovingbody: so far as to suggest that it is the intent behind the animated character that animates goes Schaffer achieve consistencyofcharacterisationandvisualappearance.William form ofcharacterstylesheetsandproduction biblesmadebythecreative teamto nique or‘pixilate’themovementsofliveactors,havecreated ofwhich performances Animators whousesand,manipulate objects withthestopframe tech performance. Donald Craftonproposes animationisinitselfa thattheactofcontemporaryfineart movements whileshemakesthemarksandformsthatwillcreate thefinalanimation. also containsdifferent levelsofperformance. This demonstratesthatananimationisnotonlytheproduct ofmultipleauthorship, but in theactofspeaking: looking inamirror tocapture different facialexpressions astheyanimateacharacter which itiscommonforanimatorstousethemselvesasamodel,mouthingwords and This process becomesevenmore pronounced duringtheprocess of‘lip-syncing’in 3 2 1 Animation In thecontextofanimation,originationintentisusuallymadevisiblein In thecreation gestures, ofanimation,theanimatorherselfperforms actionsand Ibid., 463. William Schaffer,William “AnimationI:The Control-Image,” in Vetrulsky quotedinibid.,212-3. can be constructed by the audience as a ‘performing subject’. can beconstructedbytheaudienceasa‘performing pencil intothevibratingnetworkformedbystringsofartist’s nervoussystem ResonancesofInfluencearehimself becomingacartoon. conductedbackthrough the The animatorfindshimselfreanimated inturnbythecharactersheanimatesandfeels pate andmimicitsownabsurd dynamics. moving bodythatdoesnotexistis by forcing ittomimichisownfaceorrather, tothecontrary, imageofa thevirtual For itseemsimpossiblehere todecidewhetherthehumanismouldingimage , ed.AlanCholodenko(Sydney:PowerPublications,2007),462. modulating 2.5 Theanimatoras author 3

thehumanfacebyforcing ittoantici- The IllusionofLifeII:More Essayson 1 70 . 2 - 2. Production: The animator as performer in animatedform: aware ofwatchingalie,conceptualmeta-objectthatnevertrulymovedasitdoes consciousness oftheillusionbehindactanimation:thatspectatorbecomes of auteuranimator, JanSvankmajer’s, handprintsinhisclayanimations, leads toa the animationisarecorded documentation. based art workssuchasBarryLaVa’sbased art ‘distributional’ performance ratherthanthefigureperformance oftheanimatedcharacter: gues thatthevieweridentifies with theanimators andtheiractionsofnon-matrixed animation ofobjectsandpuppetsmadebytheBrothers Quay, SuzanneBuchanar Writingabout thecomplex,auteur,non-matrixed actsofperformance. stopmotion of Faulty Optic. Thus, animation can be thought of as the aftermath of the animator’s as anon-matrixed traced innon-representational forms,whichare recorded asmarks.Thiscanbeseen not implyitsnon-existence,ratherthattheembodiedpresence oftheanimatoris bodyassubjectmatterdoes is abstract,alackofengagementwiththeperforming tobecreated.caused theartefacts In thecaseofanimation,evenif form ittakes presentedis notinthefinalartefacts fordisplay, butinthenon-matrixedactionsthat are leftbehindinvitetheviewertore-constitute thiseventfrom itsaftermath.Thework Va’s work,materialsare leftbehindaftersomethinghashappened.Thetracesthat the process withwhichtheywere madeandthetimetakentomakethem.So,inLa 1 3 Harwood Academic,1996),5-6. intoTheatre InterviewsandDocuments,(London;Amsterdam: NickKaye,Art :Performance 2 2002). For LauraIvins-Hulley, tracesoftheanimator’s actions,asevidencedbythe sight Donald Crafton, “Performance inandofAnimation,” Donald Crafton,“Performance Buchan, “TheAnimatedSpectator:Watching theQuayBrothers’ Worlds,” 23. through thepuppet. Their personalityandintentionsare whattheviewertriestounderstandasexpressed ence. Soeventhoughthissequencemakesusmore aware oftheanimatorasone withnoprofilmicThe filmstillonlydisplaystheappearanceofaperformance exist- to whatitislookingat,callsattentionamuchgreater degree tothe animator. Thismeansthatwhena puppetlooksoff-screen orthere isamatchcut … puppets’actionsandgazestructures are entirely created anddeterminedbythe the personanimatingfigure, aswelltheactualactionof

act of performance, akintothehandsofpuppeteersinwork act ofperformance, 3 2.5 Theanimatoras author 1 Thisideahasprecursors inprocess- SAS Newsletter 2 sculptures whichforeground 16,no.1(September25, moving thepuppet. intention of 71 - 2. Production: The animator as performer animation isamultiplyauthored that takesplaceontwolevels: performance such astheatre, filmandpuppetry, iscreated animatedperformance bymultipleau can relate asacenturyofmodernisttheatre toaperformance, practiceattests. with whichthevieweridentifies.Thisisonlyoneofmanywaysinaspectator asnaturalisticacting it. Itisalsounderpinnedbyanunderstandingofperformance isidenticalwiththebodythatenacted which thebodythatoriginatedperformance However, herreasoning relies asanactivityin uponanunderstandingofperformance who demonstrates a performance byproxy:who demonstratesaperformance correspondence body of theanimatorand an animatedcharacter with theperforming continues thatforanimationtobeconsidered there asperformance, shouldbeaclear Ivins-Hulley argues thatthisdisruptsidentificationwithananimatedcharacter. She position andtodrawattentionthefactthattheywere watching atheatricalillusion. Verfremdungseffekt Anexamplebeingthetheatre director, Brecht, Bertolt whobuilthisworkaround the 3 2 Ibid.,2-3. 2009). org/2008/12/21/laura-ivins-hulley-the-ontology-of-performance-in-stop-animation (accessed March 25 reviewed OnlineJournalforAnimationHistoryandTheory LauraIvins-Hulley, inStopAnimation,” “TheOntologyofPerformance 1 In contradictiontoIvins-Hulley’s Iwouldtherefore assertions, liketoargue that In thissection,Ihaveargued that,incommonwithothertypesofperformance 2. whichmaybeinvisibleorleaveitstracesin 1. A non-matrixedperformance, actor, thisintent. whichgivestheillusionofperforming creative teamwithwhomsheisworking)are displacedontoaconstructed- inwhichtheintentionsofananimator(and A substitutionaryperformance fingerprints, smudgesoreventhesightofhandanimator; impression. impression exists,buthisbodymustremain invisibleforthesakeoffluiditythat wecannotformadirect body.performing, identificationwithhisperforming His mance toconstructthelifeofobjectsforaudience’s benefit. animator’s Iftheanimatorisactor, efforts. heisonewhodisplaceshisperfor- ... theapparent intentionalityofmovementintheonscreen figure istheendgoalof

1 (‘alienation’ or ‘distancing’ effect) whichaimedtodenytheviewerapassive (‘alienation’ or‘distancing’effect) 2.5 Theanimatoras author 3(2008):4,http://journal.animationstudies. Animation Studies-Peer- 2

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72 - 2. Production: The animator as performer I have named original intent behind its creation. takes place on two levels, which This performance thors. Acoherent characteremerges from multipleauthorshipifthere isclaritytothe upon ideaspreviously discussed,suchasthelivenon-matrixed inone live act.It builds study in which Ihavecombineddifferent types of performance animated bytheircreation. tion, asseenintheworkofFaultyOptic,andSchaffer’s notionoftheanimatorwhois non-matrixed and substitutionary 2.5 Theanimatoras author . I will now go on to present a case

creation ofstopmo 73 - 2. Production: The animator as performer O (Birgitta Hosea,2008-10) animatedpresence:2.6 Performing hybrid beingthatishalfhumanandanimation. ria Swanson’s classic theatrics in Thesewere andliveperformance. inspiredanimation, mediatedperformance byGlo space thatwere allthecreation ofasingleauthor:pre-recorded andlivestopmotion inone andtoexamine different typesofperformance authorship ofperformance that isprojected ontotheanimator’s face. animator merges with the character through the superimposition of an animated doll where and‘it’(theanimatedcharacter)ends.Inthispiece,the ‘I’(theanimator)starts ofthefeminineandissimilarlyconcernedwithidea examine theperformativity hysterics.ThisworkextendedmypreviousVictorian project, career insilentfilmacting.Anothersource of ofinspirationwastheperformances presence. presence is contrasted with a mediated version of that presence and an animated from thepastiscombinedwithalive,re-animation ofthatworkinthepresent. Live creator andprojection screen; selfandother. byproxy Ananimatedperformance installation, Themerging ofidentitiesthatIexplore inthispiecewasinspired byseeingKatharinaSieverding’s 2 176 topage179illustrateotherversionsindifferent venues. attheLethabyGalleryin2008.Plates 5-8onpage ter 1fordocumentationofthefirstperformance time inslightlydifferent configurations.SeePlates2-4onpage173to175andDVDchap- Sofar, invariousvenues,London,BristolandNewYork, thisworkhasbeenperformed each 1 wall. Thesheersizeoftheimageshadanimmediate,visceralimpact. Katharina beganandKlausended.Theeighthugeimagesfilledtheroom andwere theheightof and KlausbecomingKatharina,blurringtheboundariesbetweentwo: itwashard totellwhere up inthesameheavymake-up.Projections filledtheroom withimagesofKatharinabecomingKlaus KlausMetting,bothmade consists ofslideprojections ofherselfandherpartner ofhybridportraits The originalintentionbehindthepiecewastoexperiment with thenotion of the In ut ThereintheDark combined withthecorporealbody:artistbecomesalivingsculpture; Out There in the Dark, Transformer (1973-4) at the Museum of Modern Art, SanFranciscoin2008.Thiswork (1973-4)attheMuseumofModernArt, (2008-10)isaliveperformanceinwhichanimation 2.6 Performing animatedpresence2.6 Performing I am seated on a chair with wheels, my head is hooded Sunset Boulevard 2 Ibecomeatonceanimatorandanimated; (1950) that reference her earlier Out There intheDark 1

Dog Betty , thataimedto 74

- 2. Production: The animator as performer version ofafewlinesdialoguefrom theiconicfilm hand-held andoperated like afollow-spot projection istightlyintegratedwiththemotionofmyface,becauseprojector is mine and,althoughapparently sightless,Istudythemthrough mimedbinoculars. to confront theirownvoyeurism,sothatimagesbecomeprojected insteadof the source ofthelivevideofeedprojected ontothewall.Ithenturnitonaudience and voyeurism.Towards I reach the end oftheperformance, forthe camera thatis involved in the process of filming. This allowed me to explore notions of spectatorship jects a view of thescene onto the back wall, which draws attention to the mediation onto filmorvideocouldalteritsmeaning.Alivecamerawithslighttimelagpro umentation’: howthepresence ofthelensandreproduction ofaliveperformance by a paper bag and my face is replaced with a projection of an animated doll. In his writings on digital performance, Steve Dixonraisestheissuethatmediated In hiswritingsondigitalperformance, the camera. which GloriaSwansonasNormaDesmondisreflecting for ontheactofperforming from thefilm. down tobecomeamournfulmoan.Noothersoundsare usedbeyondthedialogue order tocreate arhythmicsoundtrack.Atsomepointstheword ‘nothing’isslowed This snippetofdialogueisdeconstructed,cutintosmallfragmentsandrepeated, in cameras ofassembledpoliceandjournalistsbecauseshehasjustkilledherlover. forthe forCecilB.DeMille,butisactuallyperforming she thinksisperforming living bodiesontoinanimateobjects.In 1 page 179). I interactedwiththeholesthrough whichtheonlookerspeeped.(See Ihavealsodonetwoversionsofthepieceinapeepshow. Insteadofinteractingwiththecamera, 4 people outthere inthedark.’ Thelinesare asfollows:‘There’s nothingelse.Justus.Andthecameras.thosewonderful 3 work through mobilephonepictures andothercameras. IamgratefultoAnnePietschandSandraLouisonforoperatingtheprojector anddocumentingthe 2 Oursler theinfluencemachine who wasscreaming andlaughinghystericallyontotheblankfaceofaragdoll.(cf.Tony Oursler, In Out There in the Dark This is like an inversion of the work of contemporary artist, TonyThis islikeaninversionoftheworkcontemporaryartist, Oursler, whoprojects videoof 3 Tragically, inthesectionoffilmfrom whichthesesentencescome, (London: Artangel, 2002)). (London:Artangel, , I also aimed to investigate concepts of ‘liveness’ and ‘doc 2.6 Performing animatedpresence2.6 Performing Plaid Doll 2 . Thedollanimationlip-syncstoasampled (1992), heprojected videooftheface ofawoman Sunset Boulevard Plate 6 page177and (1950),in Plate 8 1 This Tony 75

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2. Production: The animator as performer the animatedcharacter does notreally live and soallofitsgestures are artificially For Crow, animation is the ideal medium through which to examine gesture, because at about thepiececontradicted this view. Oneonlooker, ataversionoftheperformance we havelearned: represent anuncannyhauntingofthelivedbodybyphysicalbehaviourpatternsthat projections onstagecanoverpowerthecorporeal performer. Crow. Crow argues that gestures are unconsciousactionsthatanimateus ity, whichare neithernaturalnorspontaneous,butconstructedandprepared. vation of a character’s personality. acts of feminin This marks them as performative been rehearsed, prepared andrepeated outofthecontextanarrativeormoti not intendedas‘acting’.Theseare sequencesoftwice-behavedactionsthathave soundtrack andpossessed by gestures from thefilm.Theworkisnon-matrixedand Swanson orNormaDesmond,butamanimatedbytherhythmanddialogueof frenetic and hysterical. I amnottryingtorepresent thecharactersofeitherGloria in thefilm.Assoundtrackbuildsintensity, theseactionsbecomeincreasingly on GloriaSwanson’s stylisedsilentmoviegestures NormaDesmond assheperforms position ofvoyeurismwhenlookingatvideoimagesthanalivingbody. my actualphysicalpresence. Forme,thisdemonstratesthathefeltinamore secure easier towatchthemediatedimagesthatwere projected from thelivevideofeedthan 2 and Installation 3 Libbey, 2006),50. 1 Animation Deviation My interest inexploringhystericalgesture wasinspired bytheworkofHeather tothesoundtrackareThe twitching,disembodiedactionsthatIperform based Heather Crow, “GesturingToward Olimpia,”in Ibid. Steve Dixon, and contextsthatgivegestures (andbodies)theirshapes. choreography, themeaningofwhichisdeterminedbyshiftingidentities,desires and aestheticmilieux.Theyare moved-inotherwords, are unstable,mutable…subjecttothegesturalspectersthatcirculate amongsocial Possessed bythestrangeinside-outsideworldofgesturaluncanny, movingbodies (Cambridge,Mass.;London:MITPress, 2007),122. Digital Performance: AHistoryofNewMediainTheater, Digital Performance: Art, Dance,Performance in2010,toldmethatthepiecewassounsettlingit 2.6 Performing animatedpresence2.6 Performing Animated Worlds , ed.SuzanneBuchan(John animated 3 1 FeedbackIreceived -bythisdynamic 2 . They 76 - - 2. Production: The animator as performer performer enactstheintentofanother.performer asone inanimation,butalso theanimationinperformance not onlytheperformance Desmond’s gestures inaprocess oflivestopmotion.Thus,theworkinvestigates constructed. review 7,QXMagazinecalledthepiece‘disturbing’ ofActArt presence. An overwhelming response to the piece is that it was ‘scary’ and in their neither onethingnoranother, bothpoisonandcure, resisting Western conventionsof which thesegirlsappeartoincarnateratherthanre-present spiritualforces: LeonRubinandI.NyomanSedanadescribetheproceduretrance performances, by in which girlsaretrance performances, possessed byspirits. Having observedsuch of thehumanbodybeinganimatedbyintentanother, likeBalineseSanghyang animate object that is the basis of animation. They also raise the unsettling possibility while ananimationofadollisprojected ontoit:theseactionsdrawattentiontothein and cycles throughDuring thepiece,livebodystops,starts repetitive movements are severalmotivatingfactorsforthishybridpresence toberegarded as‘disturbing’. ing trees. Unpredictable occurrences oftentakeplace,suchasrunningintothebushesorclimb living nordead,are representative ofJacquesDerrida’s notionofthe a misreading ofVoudoun andthefigure ofthezombie.Suchhybridcreatures, neither the centralityofsubjectandistrivialisedinpopular, Western horror filmsthrough rehearsed. ThisancientpracticerunscountertoEnlightenmentconceptualisationsof Ibid.,64. 4 2 1 LeonRubinandI.NyomanSedana, 3 In Out There intheDark Cliff Joannou, “Act Art: Children Joannou,“ActArt: oftheDamnedReview,”Cliff Ibid. a vehicleintowhichthespiritcandescend. commitment, beliefanddevotion,isimmediatelyready topassivelysubmitherselfas of character, gesture ormovementastheentranceddancer, withcompleteinternal repetition andemulationofagivenestablishedformorcharacter. There isnostudy ... thetranceprocess doesnotactivelyundergo alengthyprocess ofimitation, 4 Thus,Rubincontendsthattheactionsofgirlsare once-behavedandnot 1 In Out There intheDark 2.6 Performing animatedpresence2.6 Performing multipletypesofmediacombinetocreate onehybrid Performance inBali Performance , IbecameanimatedandhauntedbyNorma 3 , 67. QX Magazine , November19,2009,38. 2 . Onreflection, there pharmakon: 77 - -

2. Production: The animator as performer after death.’ sue that‘thecinema’s gestures great andre-perform theirperfect iconsstillperform death andthelawsofnature. it haseverrecorded, from great startofleetingextra.’ fossilform,anyone cinema animatesitsstillframes,soitbringsbacktolife,inperfect binary logic. into movement. electricity, or to theanimationprocess itself,inwhich thelifelessandinanimateisset erness, similar to the twitching of dead muscle tissue being brought to life through shudder; thatinvoluntary, spasmodicreaction triggered through irrationalfearofoth- the lifelessbrought intomotionandpresents movingimagesinthecontextof argues thatcinemaiswhere theundeadisanimatedintolife: past actorswhooncewere andcharacterswhoneverwere -AlanCholodenkoalso This ideaisalsoexpressed inLauraMulvey’s book Path ofAnimationStudies,” 4 5 her inamockritual.(See ofapriestwhoexorcisedBaas, Icreated thepart animateddemonsfrom animationandperformed 2 Essays onAnimation(Sydney:PowerPublications,1991),211-2. AlanCholodenko,“Who FramedRogerRabbit,ortheFramingofAnimation,”TheIllusionLife: 1 6 2007), 18. Theory mance of Ialsoexplored thethemeofanimationashauntingandraisinganimatedspiritsinaperfor- 3 Room, 2010),3-4,http://www.drawingroom.org.uk/shudder.htm. For meitislikelythat In heressay, Alan Cholodenko,“(The)Death(of)theAnimator, II:ADifficultyinthe or:TheFelicityofFelix,Part Laura Mulvey, Esther Leslie,“Shudder-Shutter-Shatter,” in Ibid., 176. the hauntedhouseofcinema... re-animation -oftheanimation,re-animation ofdeath… makingcinemathecrypt, ...the primalexperienceofcinema,ashocking,traumaticanimation, 2(2007):10. Exorcism 6 1 Thefigure ofthezombiedefieswhatwehavelearnedfinality 3 Playingwiththeconceptthatfilmre-animates thedead-spectres of Shudder -Shutter–Shatter Death 24XaSecond:StillnessandtheMovingImage (2009)atForkbeard FantasyStudios.Incollaborationwiththeactress Maureen Plate 9 Animation Studies-Peer-reviewed OnlineJournalforAnimationHistory and Out There intheDark 2.6 Performing animatedpresence2.6 Performing page 180). 4 Shudder ExhibitionLeaflet 2 , EstherLeslieconsiderstheissueof evokesthekindoffeelingsunease Death 24xaSecond: 5 Thisraisesthedisquietingis (London:ReaktionBooks, (London:TheDrawing ‘Justasthe 78 - 2. Production: The animator as performer 1906 paper, with a quotation fromessentially his own experience. The text starts Ernst Jentsch’s the termthrough its linguisticroots inGermanandthrough aconsiderationofwhatis that Freud identifiesasthe‘uncanny’.Inhisessayfrom 1919 repressed’ for thefearthathecalls‘uncanny’isareminder of‘whatwasoncefamiliarandthen tears outtheeyesofnaughtychildren anddevelopstheargument thatthereason less objectmightnotperhapsbeanimate’. as towhetheranapparently animateobjectisaliveand,conversely, whetheralife the nextsection,Iwillexamineundeadpresence thatistheanimatedcharacter. semblance ofalifeforce from inanimatematter, ofanimation.In whichisattheheart it draws attention to the viewer’s act of voyeurism and the uncanny act of creating the bined withmultipletypesofpresence. Theworkisexperiencedasunsettlingbecause life andwastherefore areminder ofmortality. stopped andtheanimationbegan.Itcontrastedlivingwithlifelessbrought to unsettling feeling, because the viewer could not be sure where the limits of the person reality, aquestionofmaterialreality.’ Forme,thekeypointthatFreudpart. raisesis:‘Itisthussolelyamatteroftesting mance he had considered himself to be engaged in was a deluded projection on his Olympia, whoturnsouttobeadoll,impliesthathisperception ofreality andthero in histheoryofpsychoanalysis.Freud underplaysthehorror thatNathaniel’s love for complacently thinkweknoworare familiarwith. we don’tknowifit’s real oranillusion.Itunsettlesus,becauseitquestionswhatwe short story short Ibid.,154. 4 3 2 1 In thissection,Ihavepresented typescom anexampleofmultipleperformance Ibid., 153. Ibid., 135. Sigmund Freud, 3 , atriggerforthevariouspsychologicalcomplexesthathehadidentified The Sandman On thePsychologyofUncanny, The Uncanny , Freud focusesonthe terrifyingfigure oftheSandmanwho 2.6 Performing animatedpresence2.6 Performing , trans.DavidMcLintock(London:PenguinClassics,2003). 4 Inotherwords, theuncannyisscarybecause 2 Through hisanalysisofETA Hoffman’s thatdefinestheuncannyas:‘doubt Out There intheDark 1 , Freud investigates created an 79 - - - 2. Production: The animator as performer F Robbe-Grillet, itiskeythattheactorhasactualpresence: 2.7 Presence andtheanimatedperformer The nettes’ thatcouldrepresent thestrong visionoftheartist: was to replace the weak and emotional human flesh of the actor with ‘über-mario pure Oneofthekeymethodshesuggestedtoachieve this ideas;thatcouldbe‘Art’. nature thathesawonstage.Heargued foratheatre ofsymbolismthatcouldpresent historic times. sincepreactors whohavebeenusedsinglyorincombinationwithliveperformers real fleshandanautonomouslifeforce. Theyshare thesequalitieswithconstructed- As opposedtothelivingbodyofanactor, animatedcharacterslacksentience,corpo gods. Theintroduction oftheüber-marionettetotheatre wouldrestore thelatter a descendantofthestonefigures inancienttemples:imagesmadethelikenessof process ofemotionalidentificationwithanactor. ForCraig,thepuppetwasanideal, 2 ““All right:where amI?”LoonyTunes 380. animationas modernist performance,” 1 of CriticalEssays Edward Gordon Craigrailedagainstthefakeemotionsandsimplistic imitationof über-marionette of theactor’sbodyexperiencedasbeingpresent‘here’and‘now’.ForAlain or manycommentators,acentralfeatureofperformanceistheproximity Craig, Alain Robbe-Grillet,‘SamuelBeckett,or‘Presence’ intheTheatre’ in essential thingaboutacharacterinplayisthatheonthescene:there. es thissituationmore naturallythananyoftheotherwaysrepresenting reality. The The conditionofman,saysHeidegger, istobethere. Thetheatre probably reproduc- artist. the puppetshallnotagainbecomefaithfulmediumforbeautifulthoughtsof we maycallhimuntilhehaswonforhimselfabettername…Andwhoknowswhether The actormustgoandinhisplacecomestheinanimatefigure -theüber-marionette and tremors ofthefleshwere perceptible. nolongeralivingfigureus intoconnectingactualityandart; inwhichtheweakness realism isproduced andflourishes.Nolongerwouldthere bealivingfigure toconfuse Do awaywiththeactor, andyoudoawaywiththemeansbywhichadebasedstage- On the Art oftheTheatreOn theArt 2 , ed. Martin Esslin (Englewood Cliffs: Prentice Esslin(EnglewoodCliffs: Hall,1965),108-16quotedinEvans, , ed.Martin 2.7 Presence andtheanimatedperformer wouldrepresent abstract,rationalideasanddenythedangerous , 81. Samuel Beckett:ACollection 1 80 - - - 2. Production: The animator as performer live performers in the same space, such as live performers turn, marionettetheatre wasacomponentofthis,sometimescombiningpuppetsand life-sized marionettessuspendedfrom alongsideliveactors. theceilingperformed Goldberg art. pointforherhistoricalsurveyofperformance usesasthestarting to aplaceofmysteryanddivinecontemplation. experiment withmovement,duration,composition,shape,scaleandproportion: dimensionsand thehuman bodytocartoonal concentric hoopsallowedhimtodistort an art school, an art In thetheatre oftheBauhaus,whichfeatured in thefirstevercourseonperformance and sometimes instead of human actors. through costumesaswellincorporatingpuppetsthatwere usedbothalongside Figure 31.OskarSchlemmer, designsforbodypuppetshis 2 1 5 4 3 Hudson, 2001). Cabaret was an important part oftheItalianFuturistmovement,whichRoseLee Cabaret part wasanimportant RoseLee Goldberg, Ibid., 94. Ibid., 98-108. Ibid., 97. Ibid., 24. The artificial humanfigureThe artificial ( figures: onescanbelarge, important onessmall. unimportant position foraslongatimedesired. Italsopermits…avariablerelative scalefor 4 OskarSchlemmerextendedandabstractedthebodiesofhisactors 2.7 Presence andtheanimatedperformer Performance Art: From Art: FuturismtothePresentPerformance Kunstfigur ) permitsanykindofmovementand 5 His use of giant, padded costumes and Cabinet, The Merchant of Hearts 1 c1922. Figural

(London:Thamesand Ballet, 1967/93. figurine from Figure 32.OskarSchlemmer, 1922, reconstruction (1927) in which The Triadic 81 2 In 3

2. Production: The animator as performer order torefer tothetraumaticdestructionanddislocationoftwoworldwars. ground inpuppettheatre andincorporatedamixture ofliveactorsandpuppetsin Similarly, Polishdirector Tadeusz Kantor’s Theatre ofDeathdrew onhisearlyback I sawanexampleofCraig’s conceptofthe presence. show thatabeingpresented onstageneednotbelivinginorder forittohavea‘live’ whatsoever ofpuppeteersorstagetrickery. Alltheseexamplesofconstructed-actors and was astonished to see surreal creatures flying around the stage with no sign Tron Theatre, Glasgow inthe1980sbyBlackLightTheatre CompanyofPrague Figure 33.Tadeusz Kantor, dir. and Avant-Garde Drama 2 (London:Routledge,2002),368. Michael HuxleyandNoelWitts 1 In hisbrilliantcomparisonofmodernistdramaand Harold B.Segel, Oskar Schlemmer, Figure,” “ManandArt in tion, anintensificationoftheirpeculiarnatures. ‘naked’ Mantotheabstractfigure, bothofwhichexperience,through thisconfronta- An equallysignificantaspectofthisisthepossibilityrelating thefigure ofnatural 2.7 Presence andtheanimatedperformer Pinocchio’s Progeny: Puppets,Marionettes,AutomatonsandRobotsinModernist (Baltimore; London:TheJohnHopkinsUniversityPress, 1995),327-8. The DeadClass , 1975. The Twentieth Reader CenturyPerformance über-marionette 1 Loony Tune in a performance atthe inaperformance cartoons, Alex cartoons, , ed. 2

82 - 2. Production: The animator as performer it contains the non-matrixed trace of the performative activitiesofmanyhands. it containsthenon-matrixedtraceofperformative character animationismarkedbytheabsenceofalifeforce withinananimatedfigure, mance, butalsotheactivitiesofanimatorwhoproduced thecharacter. Although thatindexesperfor he suggests,thedisembodiedvocaltrackofavoice-overartist body, hedoesn’tconsiderthetracesofanimator’s Itisnotjust,as performance. This argument iscompelling,butforme,Evansonlylooksatthecompleted cartoon ed’ bytheghostsoftheatricality’s past: inwhichthe bodyhasbeenerasedbutis‘haunt negative’ ofembodiedperformance Evans argues the‘animated ofacontinuumperformance: thatanimationisapart marionette Evans in 1953 Waiting forGodot theatre isembodiedpresence. HemakesdetailedcomparisonsbetweenBeckett’s stage onlythedisembodiedsoundofbreathing, resists notionsthatthedefinition of be read asa‘quintessentiallymodernresponse toperformance’ 5 4 3 2 1 Just like character animation, performance onfilmisnotdefinedbythebodyof Just likecharacteranimation,performance 1 Ibid., 385. Ibid. Ibid., 382. Ibid., 380-1. Evans, ““Allright:where amI?”LoonyTunes AnimationasModernistPerformance.” the animationalsorefuses aplaceinwhichbodymightexist. a strategyperhapsmore literal,evenmore thanthatavailabletoBeckett, effective, extremes, In andthesamecanbesaidforspaceofanimated“performance”. its absencealwaysforegrounded byitsimpossibleelasticity, iscontinuallytestedto would havebeen-where thatholeisembodimentinspace…the animatedbody, itistheholewhere characterisanindexofperformance… thething Every cartoon Character animationowesitsexistence-centraltrope -toanenforced absence. theatre. traditions, variousinstantiationsandmanifestations,culturalhistoricalpracticesof ghosts ofembodimentinthesehyperactive,metamorphicautomata,wefindthe character animation,becausethebodyinspacehasexpired. Instead,alongsidethe Of coursethere isnoroom fora“pure” asBrook performance imaginesitinthe argues that modernist theatre practice, such as Craig’s conceptof the 2 andsuggeststhat,withitsplayofabsencepresence, animationcould andSamuelBeckett’s play 5 and the Daffy Duck cartoon Duckcartoon andtheDaffy 2.7 Presence andtheanimatedperformer Breath Duck Amuck (1969), inwhichthere isnoactoron directed byChuckJones 4 3 : über- 83 - - 2. Production: The animator as performer mediated through screen-based technology. is recorded byacameraandthenre-assembled from fragments,re-presented and in whichtwice-behavedbehaviourthatwasdoneinitiallybyanoriginal,livepresence behind the processWalter the artifice of filmmaking, Benjamin has clearly articulated still believe for a moment that I am watching the story of a Queen from ancient Egypt. of presence’. proof thatthebodyofactorwasoncepresent: ‘Every photograph isacertificate photographic isaguaranteeofauthenticity:testamentthattheeventshappened; bytheverynaturelief. ForRolandBarthes, ofthechemicalprocesses involved,the the actorbeingphysicallypresent totheviewerandinvolvesasuspensionofdisbe Burton. Iknowthatthefilmwasmadein1963andyetwhenwatch Burton. beth Taylor isnotCleopatra.IknowbitsofgossipaboutherprivatelifewithRichard shown inarawstate,buteditedtogethertocreate afictionalconstruct.IknowEliza been chemicallymanipulatedsinceitsinception.Moreover, filmrushesare veryrarely comes before thelensandthenfixingthatimage.Instage,photographyhas Photographyisatwo-stageprocess,of artifice. whichinvolvesfirstcapturingwhat the continuityofhistoricaltime: out, suchasthelong,lingeringclose-up,thatare momentsheldandextractedfrom and examinedinslowmotion.Films also contain elements, asLauraMulveypoints canalsobeanalysed:zoomedinto,replayedous spaceandtime.Theperformance in different locationsandtimesare stitchedtogethertogivetheillusionofacontinu angles, withdifferent lenses,maybeevenfrom shot different cameras.Performances shotfromin afilmisactuallycompositeofmanyseparateperformances, different 2 3 Oxford: Oxford UniversityPress, 1979),858. Criticism: Introductory Readings 1 Malcolm LeGricecontendsthatthephysicalproximity ofreal bodiesinthetheatre Walter intheAgeofMechanicalReproduction,” Benjamin,“TheWork ofArt in Mulvey, Barthes, enhanced. the framing,butalsoduetoprivilegedlightingwithwhichstar’s faceisusually …the close-upnecessarilylimitsmovement,notonlyduetotheconstrictedspaceof Death 24XaSecond:StillnessandtheMovingImage 1 Camera Lucida However, filmsare notslicesofreal life,butfictionalconstructsfull 3 2.7 Presence andtheanimatedperformer , 87. , ed.GeraldMastandMarshallCohen,SecondEdition.(NewYork; 2 The mediated performance contained The mediatedperformance , 164. Film Theoryand Cleopatra , Ican 84 - - - 2. Production: The animator as performer It isnomore genuinethanpresence recorded onfilm: to those that we know from our lived experience. We draw on our own internal data It isthrough movement thatweempathisewiththecharacter, relating itsmovements is noguaranteeofauthenticity presence.’ mighttake.Itiscontent,notcontainerthatasserts tion, whateverformtheartwork how itengagestheviewer:‘...real presence demandsatten occurswhentheartwork Indeed, SteveDixonmaintainsthatpresence isnotdefinedbycorporeal flesh,butin existed, eventhoughtheylackahumanbody: ings onDisney, Eisensteinargues thatweexperienceanimatedcharactersasifthey through movementthatwecheckforsignsoflife:thebreath, thepulse.Inhiswrit agency andempathisewithacharacter, notthepresence oftheirphysicality. Itis Installation 4 3 2 1 I wouldliketoargue thatitisthrough movementthatwesurmiseanillusionof Eisenstein, Dixon, Ibid. Malcolm LeGrice, footstep inconcrete, ispresent. that whichhadbeenthesubjectofitsrecording isabsent,its recorded trace,likea the cinematicimage,andconsideritinitsstateasarecord (orrecording), evenif ing substance...evenifwepassbeyond[the]conceptofthematerialsubstance this isnomore thananargument ofanawareness ofthematerialreality ofthesignify- or their‘real’ presence somehowresists thetransparency ofthetheatricalsignifier, If, inthetheatre, theactors(orprops) are considered eitherassignifiersthemselves, We We But atthesametime: really exist. We We We We We We We We sense sense sense know know know 3 , 134.

Digital Performance: AHistoryofNewMediainTheater, and Digital Performance: Art, Dance,Performance thattheyare… ‘miracles’andtricksoftechnology, thatsuchthingsdon’t thattheyare… projections ofdrawingsonascreen. thattheyare… drawings,andnotlivingbeings. themasexistingandeventhinking. themasalive. Eisenstein onDisney them asmoving,active. 2.7 Presence andtheanimatedperformer Experimental CinemaintheDigitalAge 1 . Presence inthetheatre isthepresence of afiction. , 55. 2 4

(BFIPublishing,2001),173. 85 - - - 2. Production: The animator as performer ‘certificate of presence’‘certificate we havelearnedtoascribethem.Itisnotnecessaryrecognise aphotographic bases of movements, gestures and the psychological, emotional and social meaning and postures andascribingcausalitytothem. byreading‘performance’ thebodylanguageofcharacterthrough itsmovements an animatedcharacterdoesnotexistinthe‘real world’,werecognise thatitisgivinga character isexperiencedasifitcouldhavehadconsciousnessandagency. Although is constitutedthrough theactofperception. struct madecoherent onlyinthemindofviewer. character Afictionalperformed onto thebodyofconstructed-actororanimatedcharacter, con itisanartificial proximity tothecorporeal bodyofanactor, asmediatedthrough film,orasdisplaced ofacharacterisexperiencedinclosephysical actions. Whethertheperformance tion process. Itisthrough themovementsofcharacterthatweidentifywiththeir or invisibletracesoftheirpresence oftheanima inthenon-matrixedperformance created byateamofanimatorsratherthansingleactor. Theanimatorleavesvisible byproxy, thatisindexedofahistoricalperformance in whichtheperformance at for amovementat of absenceandpresence inananimation,becausethebodythatoriginatedintent on stageneednotbewhollyaliveinorder There togivealiveperformance. isaplay bypuppetsandextended,masked actors,whichprovesperformance thatthefigure In thissection,Ihaveargued thatthere isanextensiveandancientlineageoflive run-time differentiate between the time when a performance iscreateddifferentiate betweenthetimewhenaperformance andthetimewhenitisplayedback. Iamusingtheterms‘author-time’and‘run-time’,whichare usedininteractiveauthoring,to 3 interpret thisasadepressed walk. Forexample,ifacharacterwalksslowlywithdown-turnedheadandforward-sloping posture, I 2 1 Barthes, Barthes, . Animation can be seen as part ofacontinuumpresence. Animationcanbeseenaspart andabsence, Camera Lucida 2.7 Presence andtheanimatedperformer author-time 1 : proof that the character once lived. Through movement the , 87. 3 isnotthesamebodythatcarriesoutmovement 2

86 - - 2. Production: The animator as performer T as opposed to being an exterior spectator. The would allowmetoexperience personally beinginthesiteofanimatedperformance, observation, this project as a research enabled me to use performance method that experiment withButler’s Adoptingastrategyofparticipant notionoftheperformative. constructandto in order ofanartificial toexaminetheoriginationandperformance that results character inanimatedcharacters,Iinhabitedthepaperskinofacartoon oftheprocess aspart ofcreationpractitioners studiedandenactedperformance an extensionofherownbody. an artificial,animatedbodytoenactaperformancethatshehasdevisedasif is commonplacetothinkoftheanimatorasaperformerbyproxywhocreates seen astheperformerbehindthatcharacter.Inanimationindustryitself,it made toappearbeperforminganddeterminewhethertheanimatorcan 2.8 Conclusion and the performance thatshegives.Inthemajorityofanimationproductions,and theperformance ateam lenge preconceived notionsofadirect correlation betweenthebodyofaperformer Firstly, the practical issue of the complex authorship of animation may appear to chal otherworldly worldsare created beingsgiventheappearanceoflife. andartificial that theanimatorisaperformer. Animationcanbeseenasanactofmagicinwhich torical lineagethatrunsfrom thestagemagiciantoshowmananimatoridea are and, in this chapter,performance deeply intertwined I have demonstrated a his Indeed, therootsthe irrational,plasmaticworldofcarton. ofanimationandlive origins oftheatre, inwhichtheboundariesofhumanbodyare transgressed, and nections betweenanimation,maskandpuppetry;theecstaticritualsat the confinesofflatscreen. Furthermore, thisproject ledmetomakedirect con derstanding ofanimationasaprocess extendingbeyondframe-by-frametechniqueor In response toacenturyofhistoricalprecedents in theanimationindustry, whose A number of objections to the idea of the animator as a performer couldberaised. A numberofobjectionstotheideaanimatorasaperformer place inanimationproductionwhenanartificiallyconstructedcharacteris he purposeofthischapterwastoexaminetheactencodingthattakes Dog Betty 2.8 Conclusion project facilitated my un 87 - - - - 2. Production: The animator as performer practitioners suchasCraig,Schlemmer, KantorandBecketthaveaimedforamore experience oftheperformer’s bodyinclosephysicalproximity. formance asreproduced onfilmlackstheauthenticityandrawpowerinvolvedin Thelatterargumentperformance. bodywere isthateveniftheperforming real, per with naturalisticacting.Itassumesthattheviewer’s actofidentificationdefinestrue assynonymous ing isthatitdependentuponanunderstandingofperformance order fortheviewertoengageinidentification.Oneoflimitationsthisreason through film. The former argument is that a real body must have once existed in thathasbeenmediated and authenticexperiencethanthatofviewingaperformance of originalbodiesandnottheirre-presentation, and,therefore, provides amore primal trasted with the idea that the theatre is a place of incarnation, of the actual presence of identificationwiththecharacterforviewer. Thistrainofthoughtcouldbecon existed fortheviewerinformofcorporeal flesh,there canbenoclearprocess body oftheanimatorisargument that,sincetheanimatedbodyneveractually Chapter 4. investigate inmore detailthewayinwhichcharacterisunderstoodbyviewer and then understood as a coherent character in the mind of the viewer. I will go on to can beunifiedbycreative intent,consistencyofappearanceandcharacterisation animation production, (andevenmultipletechniques) multipleauthorsofperformance hands canworktogetherinalivecontexttocreate onecharacter. Justasinfactory such asthatcreated byFaultyOpticorbunrakupuppetry, demonstrateshowmany throughto perform thenon-matrixedactionsofpuppeteer. Furthermore, work enacted bytheoriginatorofthatintent.Inpuppetry, forexample,apuppetismade however,performance, thatthecreative neednotbe intentbehindaperformance of adirector, writer, editorandcharacterdesigner. Itisclearfrom othertypesoflive andthecreativesistance ofco-workers,theinfluenceavoice-overartist overview rare forasingleanimatortobeincompletecontrol ofonecharacterwithouttheas works togethertocreate ofonecharacter. theanimatedperformance Itwouldbe In order tocounterthese pointsofview, Iargue thatacenturyofModernisttheatre isnotthesameas Continuing theobjectionthatbodyofperformer 2.8 Conclusion 88 - - - - 2. Production: The animator as performer creating, discussingandreflecting uponmyperformance to beseenasseparatefrom thebodythatenactsactivity. AsIdiscovered when than bythetypeofbodythatmakesthosemovements. recognition ofdifferent typesofmovementinformedbyourlivedexperiencerather thatcharacterisunderstoodthrougha fictionalconstruct.Furthermore, assert the in ordinary life:plannedandprepared, twice-behavedactionsare enactedtocreate on filmorexperiencedlive,thehumanactordoesnotbehaveexactlyasshewould Moreover,performance. charactersare allperformed fictions.Whetherreproduced its playofabsenceandpresence, animationcouldbeseenastheultimateModernist intent needcarryoutthatwiththeirownbodies.Indeed,asEvansargues, with ferent approaches topresence inthetheatre disprove theideathatauthorsof through thereplacement, extension,negationorerasure ofcorporeal presence. Dif tic theatricalconventions:notthrough emotionalidentificationwithahumanactor, but direct andtransformative formofcommunicationthanthoseestablishedbynaturalis image technology such as film or digital video. Second, I assert that performance in thatperformance image technologysuchasfilmordigitalvideo.Second, Iassert petry isthattheillusionofautonomousmotionmediated through avisual moving ter asifitwere autonomous andhadagency. Whatdifferentiates animationfrom pup movements ananimatedcharactermakesleadtheviewer toexperiencethecharac and controls thebehaviourofcharacterisseparatefrom thecharacteritself.The which has roots in mask and puppetry. Just as in puppetry, the body that conceives of sions: First,Iargue byconstructed-actor, thatanimationisaformofperformance of othersandbrought totherealm ofthelivingthrough movement. physical bodyoutwithconsciouscontrol; intent theundeadenactingperformative the hauntingofthecorporealconsider theanimationinperformance: bygesture; the inanimationandyetitultimatelyledmeto to examinethetypesofperformance made tomove.Followingmy character reveals of animation in which the lifeless is the uncanny act at the heart contrast between absence and presence, between the livebody and theanimated A consideration of performance in animation enables the activity of performance inanimationenablestheactivityofperformance A considerationofperformance The results ofmyinvestigationsinthischapterledmetothefollowingconclu Dog Betty research, thisproject beganwithadesire 2.8 Conclusion Out There intheDark , this 89 - - - - - 2. Production: The animator as performer performance isplayedbackanddelivered.performance lowing chapter, Iwillconsidertheimpactofnew, digitaltechnologiesonhowanimated next area to explore is whether this could take place in a live environment. In the fol are bestowedwithmotionandgiventheappearanceoflife. a reproductive technique,butanuncannyprocess inwhichtheinhumanandlifeless the animator’s body. Finally, taken together, these ideas suggest that animation is not byproxyover time;andsubstitutionary-aperformance enactedbyasubstitutefor animation takesplaceattwolevels:non-matrixed-theanimators’activitiesrecorded If animation can be accepted as an activity in which a character is performed, the If animationcanbeacceptedasanactivityinwhichacharacterisperformed, 2.8 Conclusion 90 - 3. Run-time: Animation playback I participation. section, Iwillpresent anexampleofalive,onlineanimationthatincludesaudience animationmeetsinteractivetechnologyanddigitaldance.Inthefirst performance ies inwhichanimationiscreated ofaliveexperience:where andplayedbackaspart shopping websitesorgaming. billboards, movingsignage mobile phones,electronicing systems. It isdisplayedonInternet banner adverts, designfor softwareused asacomponentoftheinterface programmes andoperat which movingimagescanbedistributed.Animationtakemanyforms.It orfeatureparadigm shiftandashort filminacinema is nolongertheonlymannerin ence onhowafilmisplayedback.Theuseofdigitaltechnologieshasengendered a audience memberhasthesameexperience,ispassiveandtheirreaction hasnoinflu the mediumonwhichitwasdistributed.Intraditionalcinematiccontext,each back atthemomentofrun-time. page 32)andreflectonhowanimatedperformanceisdeliveredplayed 3.1 Introduction 3. Run-time:Animationplayback will return to issues of temporality and liveness raised in constructed-actor andnotionsoftheanimatorasperformer.Inthischapter,I n thelastchapter,Iexploredheritageofanimationasprogeny Suchaspedestriancrossings. 1 In thischapter, withcasestud Icontrastnotionsofwhatdefinesliveperformance Animation haspreviously beenconsidered asboundbyitsrelationship tofilm: 1 and as part ofinteractivemediaexperiences suchas andaspart 3.1 Introduction 1.6 (on page 29 to 91 - - - 3. Run-time: Animation playback I Body Collision -wasdevelopedbythetheatrecombination withliveperformance companyAvatar a responsetoaudiencefeedbackinreal-timewouldbepossible. variety ofonlinechattechnologies,in2003theyestablishedUpStage hosting venue via webcams or in the form of avatars. Through experimentation with a live performer, whilethree remote appearprojected performers ontoscreens inthe 3.2 Synchronous animation: collaborator for theUpStage090909festival Smith live overtheInternetfrom different geographicallocations(LondonandBath).Iwrote, madonna, around andplaysoundclips. can alsodrawdirectly ontothestageinreal time,changebackgrounds, moveprops tomanipulatecharacters,intheformofavatars.They nology allows‘cyberformers’ formance eventsthrough theirbrowser bygoingtoawebpage.TheUpStagetech in NewZealand.Onlineaudiencesanywhere inliveper intheworldcanparticipate basedon an Open Sourcevenue foronlineperformance serverapplicationlocated ‘now’, inthepresenttime,toageographicallydispersedaudienceandwhether n thisprojecttheintentionwastoinvestigatewhetheranimationcouldhappen the performance, the performance, 3 See 2 September 13,2010). 1 part ofMrSmithandtheFireman.part duringtheprocess. the gave meinvaluablefeedbackandsupport Healsoperformed MattWicks 4 the script. DVD Chapter2.2 The concept of ‘cyberformance’ - performing through - performing avatars over theInternet in The concept of ‘cyberformance’ At HomewithMrandMrsSmith “UpStage,” 2010,http://upstage.org.nz/blog (accesedSeptember 13,2010). “Avatar BodyCollision,”2007,http://www.avatarbodycollision.org/about.html (accesed (Birgitta Hosea,2009) Plates 10-16 withinspirationfrom MikeLeigh’s 4 using the UpStage system to perform through avatars usingtheUpStagesystemtoperform digital,cartoon 1 , whowere foundedin2002.Theirworktypicallyinvolvesone‘real’, foranoverviewoftheanimatedcharacter’s cyclesand DVD Chapter2.1 onpage181to184forscreen captures oftheaudienceviewduring forascreen capture oftheactors’viewduringdress rehearsal, 3 , looselyadaptedfrom (2009)wasananimationspecificallycreated 3.2 Synchronous animation At HomewithMrandMrs Abigail’s Party

Eugène Ionesco’s . Itinvolvedmyself and a Appendix I onpage234for 2 , aweb-based Bald Pri 92 - - - 3. Run-time: Animation playback similarities to puppetry in the process, theredragged across stage.Althoughsuperficially mayappeartobesome thevirtual loopedmovement cycles,theavatarscouldalsobe ing abletodoanumberofshort angles, ratherthantheavatarbeingstaticlikeasimplepaperpuppet.Aswellasbe activated foreachcharacter, givingthemarangeofsimple movements from different film ordigitalvideo. them isthatanimationmediatedthrough avisualmovingimagetechnologysuchas puppetry bothinvolvethemanipulationofcharacters,formewhatdifferentiates tion andpuppetrythatIhavementioned in previous chapters.Althoughanimation and this project waspivotalinenablingmetothinkthrough thedifferences betweenanima could betriggered byakeystroke. avatars, Iwasabletocreate animatedloopsforeach characterthat aseriesofshort room characters were set. The cartoon manipulated live: using Flash to create the styleandthebackdropcartoon was designedsothatitlookedlikeatheatricalliving like toinviteyoufordinnerandaperitifs’. meaningless nature ofpoliteconversationandstatedthat‘MrMrsSmithwould Smith. Thepublicityforthepieceinvitedaudiencetoexplore therandomand ofMrs designed, animatedanddirected thepart thispieceaswellperforming technique of using phrases out of old-fashioned language textbooks phrases oflanguagetextbooks.From thisplay, Itooksomeofthecharacters, the 1950, while he waslearningEnglishandbecameinspired bythetriteconversational mation software usingloopedmovementcycles. of amovingimagemediatedthrough thecomputerscreen andwascreated withani the scenario. 2 5 See See 4 3 (Uppsala: HugoGebersFörlag,1946). 1 Eugène Ionescowrote the G. Kenneth Laycock and Martin S.Allwood, G. KennethLaycockandMartin See AppendixI Eugène Ionesco, DVD chapter2.2 Appendix I 3 Thecharactersfor for alistofthese. on page234. The BaldPrimadonna for anoverviewoftheanimatedcycles. Bald Primadonna At HomewithMrandMrsSmith 4 Thisenabledanumberofanimatedposestobe (London:French, 1973). At Home with Mr and Mrs Smith 3.2 Synchronous animation Idiomatic EnglishSentenceswithSwedishEquivalents 1 , 5 Indeed,creating andreflecting on a play first performed inFrance a playfirstperformed were developedin 2 and elements of took the form 93 - - -

3. Run-time: Animation playback to theirintervention. the audiencetobeableinteractwithpieceandseeanimmediateresponse ofthelivenesseventwasfor or NewZealand.Thisdemonstratedthatakeypart revealedparticipants thattheycamefrom IstanbulorLondonGermanyAustralia took totypearesponse. Itwasthrillingtowatchthetextchatappearinreal timeas rupting sometimesormissingthepointinconversationbecauseofspeedit thespontaneitywasabsorbing,althoughitcouldfeellikeIinter As aparticipant, funny, enjoyed the characters and engaged by typing witty and amusing comments that theycould‘answerback’withtextchat.Theaudienceseemedtofindthepiece werethe participants already familiarwiththeUpStagetechnologyandwere aware ofaday-longfestival,many as theirspeechwasnotsynthesised.Asthispart through tooktheformoftextonly,performers textchat.Thisaudienceparticipation order toencouragethemanswerback.Theaudiencecouldalsointeractwiththe bubbles orasemphatic.MrandMrsSmithaskedtheaudiencequestionsdirectly, in displayed onscreen in‘speechbubbles’,whichcouldbeshownasstandard, asthink ad-libs directly intoatextfieldintheUpStageenvironment. Thetext‘spoken’wasalso wecopiedandpastedphrasesfromthe performances apre-written scriptortyped different accentstochoosefrom. To makethecharacters‘speak’dialogue,during thesis. Thespeechsynthesistechnologycreated adry, automatedvoicewith100 theories oflivenessandwhattheimplicationsare foranimationtobe‘here’ and‘now’. is the only way to be live. In the next section, I will consider embodied performance movements orsynthesisedspeechinreal time.Thisproject challengedthenotionthat throughence participation theactionsoftheirremote operatorswhocouldcreate animated characterscouldimprovise andimmediatelyrespond tosynchronous audi tookplace inthepresent.frame-by-frame, thisperformance Thelive,spontaneous, 1 See synthesis technology. instant responses toaudiencefeedbackthatwewere abletoachieveusingUpStage’s texttospeech inAppendixI.BontheaccompanyingDVDthatdetails spontaneousad-libsand each performance screen, ofthelivetextinterchange betweenaudienceandperformer. There isafulltranscriptof Although The charactersofMrandMrsSmithcouldalso‘talk’through text-to-speechsyn Plates 10-16 At HomewithMrandMrsSmith onpage181to184forasample,therighthandsideof 3.2 Synchronous animation featured animationsthatwere drawn 94 1 . - - - 3. Run-time: Animation playback T casting, onlinemulti-usergaming,theliveexperience of to Auslander’s example,suchasonline videoconferencing, instanttextchat,liveweb same timeastheyoccur. Otherexamplesofsynchronous mediacouldbeappended through broadcast television by geographically dispersed communal audiences at the as BigBrother liveevictions,theWorld CupliveandtheOlympics,are experienced can seeithappen‘now’,mustbereal. Majornationalandinternationalevents,such has become:’anintrinsicanddeterminingelementofourculturalformation.’ thattelevisionhaschangedourrelationshipthe world.Heasserts tothepresent and gral feature oftelevisionthrough which,inourageofmassmedia,wenowexperience tends that‘liveness’isnolongertheexclusiveterritoryoftheatre, butisalsoaninte ing technology and live performance throughing technologyandliveperformance avatars.InSermon’s 3.3 Theoriesofliveness Smith and thatitisreductive toplaceitinbinaryopposition‘reproduced’. ‘live’ hasonlycomeintoexistencesincetheemergence ofreproductive technologies 1.6 other sothattheviewercaninteractwiththeirremote Eachlive video counterpart. domain of performance. Inhisbook domain ofperformance. Auslander deconstructstheconceptof‘now’andargues thatthisisnottheexclusive feature’ ofatelephonecall.Doesthatmakecallperformance? ing 2 1 dream (accessedSeptember13,2010). 5 4 3 5 As areaction toPeggyPhelan’s Philip writingontheontologyofperformance, onpage29.Liveness,howevercouldalsobeseenasakey‘ontological (1992), live video feeds from two remote locations are eachprojected into the her essay he ideathatlivenessdefinesperformance,proposedbyPeggyPhelanin or the work of telematic artist PaulSermon,whichcombinesvideoconferenc ortheworkoftelematicartist Auslander, Representation Reproduction.”Phelan, “TheOntologyofPerformance: Without Paul Sermon,“Telematic Dreaming,” 1992,http://creativetechnology.salford.ac.uk/paulsermon/ Ibid., 2. Ibid., 3. Liveness: Performance inaMediatized CultureLiveness: Performance The OntologyofPerformance Liveness, 3.3 Theoriesofliveness 2 Auslander 1 , wasfirstintroducedinsection . At HomewithMrandMrs

argues thatthecategory Telematic Dream 3 Auslandercon 4 Ifwe 95 - - - - 3. Run-time: Animation playback ness oftheexperiencecannotbereproduced: quiz channel. of synchronous media such as a live webcast or playing a game on an interactive TV something you experience ‘now’, in the ‘present’, then it could also be an experience fromto differentiate liveperformance othertypesofsynchronous media.If‘live’is From theseexamples,Iwouldliketoargue thathappening‘now’isnolongersufficient -realof participants humansandanimatedavatars-co-existedinthesamespace. own reflection, butalsothereflection oftheotherscompositedthere, asifbothsets tolookintothescreenparticipants asifitwere amirror thatcontainednotonlytheir Avatar video imageofsomeoneinanotherlocation.Inamore recent work, feed isprojected tointeractwithaprojected ontoabed,whichenablesparticipant world of the avatars animated live by the global participants within the avatarsanimatedlivebyglobalparticipants to appearonbothscreens thatcombinedboththereal spectatorsinManchesterand lar screen intheonline versionofthespace.Chroma-key technologyenabledimages real time.Alarge videoscreen inthereal AllSaintsGardens wasreplicated byasimi the publiccreate bodiestheycanoperatein fictionalidentitiesandanimated,virtual Figure 34.PaulSermon, liberate (accessedSeptember13,2010). PaulSermon,“LiberateYour Avatar,” 2007,http://creativetechnology.salford.ac.uk/paulsermon/ 1 Another keyfeature PeggyPhelanconsidersisthattheunique ofliveperformance 1 (2007),Sermonrecreated Manchester’s AllSaintsGardens withintheonline Second Life 2007. View from2007. View SecondLife. Liberate Your Avatar , whichisathree-dimensional environment inwhichmembersof , 2007. View from2007. View AllSaintsGardens. Figure 35.PaulSermon, 3.3 Theoriesofliveness Second Life Liberate Your Avatar . Thisenabled Liberate Your , 96 - - 3. Run-time: Animation playback laced pictures, where onesetofscanlinesdisappearsandisreplaced byanother. andthatitisalsoaconstituent featureperformance of[analogue]broadcast TVinter here, becomesitselfthrough disappearance’ of its ontology: ‘Performance’spart being, like the ontology of subjectivity proposed trace in the memory of the spectator. From this she concludes that disappearance is For Phelan,theexperienceofwatchingunique,liveeventisephemeral:itsonly tatorship and the platform of delivery for the moving images (TV, DVD, You Tube etc.) viewing context:thevenue,whetherthere isasurrounding audienceorsolitaryspec- ofvideocompression.keyframes. Thus,disappearanceisalsoanintegralpart representations oftheimage, but are stored asthe differences betweenthosewhole series ofkeyframesare setatintervalsandtheframesinbetweenare notcomplete Roland Barthes claimsin Roland Barthes your eyes,noneofthemstayinglongenoughtoregister auniqueimpression, as Film canbeseenasasuccessionoffleeting,stillphotographsdisappearingbefore This argument could,indeed,beextendedtocoveranyformoftime-basedmedia. moving imagestorageinvolvesboth ing imagenolongerconsistsofdiscrete stillimages.Technically thisformofdigital Indeed, theuseofMPEGvideocompression forDVDauthoringmeansthatthemov 3 2 1 4 In oppositiontoPhelan,Auslanderargues thatdisappearanceisnotuniquetolive Moreover, according theexperienceofwatchingtime-basedmediawilldiffer tothe Auslander, Ibid., 147. Representation Reproduction,”Phelan, “TheOntologyofPerformance: Without 149. Barthes, Barthes, space framecanhaveanexperienceofvaluewhichleavesnovisibletraceafterward. honorstheideathatalimitednumberofpeopleinspecifictime/ Performance becomes cinema:inthePhotographsomething series ofimages. in front ofthissametinyhole:theposeissweptawayanddeniedbycontinuous has remained there forever (thatismyfeeling);butincinema,something ...the Photograph’s Camera Lucida Liveness: Performance inaMediatized CultureLiveness: Performance 4 noeme Camera Lucida: , 78. deteriorateswhenthisPhotographisanimatedand inter and 2 3.3 Theoriesofliveness . intra has posed , 43. framecompression inwhicha infront ofthetinyholeand has passed 97

1 3 - -

3. Run-time: Animation playback image. and endlesslyheldasthespectatordesires toconsumeandpossesstheephemeral possessive or pensive spectatorship in which the frame can be contemplated in detail Mulvey argues thatthistechnologicallyenhancedpausehascreated anewformof of thepause,which,inVHStechnology, hadstuttered betweenvideofields.Laura enhancementofimagequality,duction ofDVDledtoafurther thequality inparticular possible tocapture, pause,rewind andfast-forward theviewingexperience.Theintro theadventofVHSitbecame button.With to changechannelsorselecttheon/off over viewingthatwasnotpresent inthecinematicexperience.Itbecamepossible will each have an influence. The introduction of television brought a degree of control re-editing content. adding playlists,recommendations andfeedback;creating fansites;downloadingand able tointervenedirectly withthemovingimagestheyconsume:viewingondemand; out, ananimatedcharacteronlyexistsinthepresent: media (asopposedtotheatre whichissynchronous) asAlexanderSesonskepoints have auniqueexperience. accept it,thismakesanimation,likethetheatre, ofthepresent’ alsoan‘art In otherwords, theanimatedcharacteronlycomesintoexistenceatrun-time. Ifyou 4 Spectator: Watching theQuayBrothers’ worlds,”17. of Film 3 2 1 Although traditionallyanimationisnotconsidered tobelivebutanasynchronous Thus, althoughthetheatricalexperience Barba, Alexander SesonkequotedinStanleyCavell, cf. Hosea,“TV2.0:AnimationReadership/AuthorshipontheInternet.” Mulvey, on screen. Theirprojected worldexistsonly [N]either theselivelycreatures northeiractions,everexisted untiltheywere projected when Iseeit… the worldIknowandseehadnotyetsprungintoexistencethen.Itexistsonlynow, curred. Surely notthetimedrawingswere made,ortheframesphotographed,for there tohaveoc- isnopasttimeat whichtheseeventseitherdidoccurorpurport 1 Changesinspectatorshipare evenmore apparent online,where viewersare (Cambridge,MA:Harvard Universitypress, 1979),167-8quotedinBuchan,“TheAnimated The PaperCanoe:AGuideTo Theatre Anthropology Death 24XaSecond:StillnessandtheMovingImage 2 Thisabilitytocontrol theviewingprocess enableseachviewerto 3 The World ReflectionsontheOntology Viewed: is 3.3 Theoriesofliveness

clearly ephemeralandheldinmemory, now , atthemomentofprojection… For , 36. , 161. 4 . 98 - 3. Run-time: Animation playback we orientourselvesintheworld: we canmovearound, wecansee,hearorfeelobjectsfrom different anglesand,thus, tions. experience thatcomesbefore thought.Oursensesare alsolinkedtoourmotorfunc Perception takesplacefrom anorientatedposition,whichconnects space thatsurrounds ofetherinwhichallthingsfloat’. usisnot‘somesort together in a moving, living body to create information about the world ‘out there’. The that wereceive through oursenses.Thesensesdonotworkinisolation,they withthebodyandinformationaboutworld maintains thatourknowledgestarts this isnotthe experienced beingattheoriginofourownperspectivalspace. wehavemoved throughthe subjectinworld.Sincebirth three dimensionsand as liveperformance’ forms likefilmandvideocanbeshowntohavethesameontologicalcharacteristics ception bytheviewerandretention inmemory. Auslanderconcludesthat‘mediatized other formsoftime-basedmedia:bothintermstheirmaterialontologyandre dimensional space?In tions technology, couldthelivebedefinedasanexperienceof‘present’ inthree- performance asoppositionaldiscourse’. performance 1 Ibid,209-10. 8 Ibid,253-4. 7 Ibid,280. 6 Ibid,243. 5 Ibid,82. 4 Routledge, 1999),243. MauriceMerleau-Ponty, 3 2 If ‘now’isalsoafeature ofothertypessynchronous mediaandtelecommunica 8 Auslander, Ibid. Without consciousintent,wemoveclosertosomethingthatinterests Without us,we world through themediumofmybody. I couldmakeatourofinspectionthem,andinthatsenseamconsciousthe ... mybodyisthepivotofworld:Iknowthatobjectshaveseveralfacetsbecause Liveness: Performance inaMediatizedCultureLiveness: Performance exclusive 1 andthatonthisbasisthere are nogrounds for‘privileginglive The PhenomenologyofPerception terrain of live performance. Disappearance isapparent terrainofliveperformance. in Phenomenology ofPerception 2 4 3.3 Theoriesofliveness , trans.ColinSmith(London;NewYork: , 159. , MauriceMerleau-Ponty 7 Thisisafundamental 5 andanchors 3 Because 99 6 - - -

3. Run-time: Animation playback experienced asmovingthrough three-dimensional space: aspectoftheperceptionthe ideathatanimportant oftheactor’s bodyisthatit Our bodyisaunifiedsystemwithwhichweconnecttotheworldoutsideourselves. cover oureyestoavoidlookingatsomething,weswaythebeatofmusicenjoy. in filmtheory. In itselfisflatorthree-dimensional.of performance Thisperception offlatnessisechoed as wellanimations,are whetherornotthesource usuallywatchedonaflatsurface, turn tothestalls,boxesorcircle. constrained onlybysightlines.Inaddition,inatraditionaltheatre anactorcanplayin inthreea spatialdimension.Anactorcanbeblockedandperform dimensionalspace, alsohas theaudiencehasafullerexperienceofspace.Theperformance live art, tial configurations, such as processional drama, theatre in the round or site-specific around tosomeextentestablishathree-dimensional view ofthestage.Inotherspa In atraditionalproscenium arch theatre, thespectatorhasafixedseat,yetcanmove William Raban, ValieWilliam Werner Export, Nekes and Guy Sherwin, into the process of film the ‘60sand‘70sfeatured suchasMalcolmLeGrice, experimentsbymanyartists, used todelivertheplay-back.Theexpandedcinemaand structuralfilmmovementsof refer totherectangular frame–thewindow, thepicture frameorthemirror. Sobchack argues thatthree metaphorshavedominatedfilmtheorysofar, whichall Jersey: PrincetonUniversityPress, 1992),14. 1 2 SecondEdition.(London:Routledge,2002),29. Michael HuxleyandNoelWitts, In histreatise oflightinthetheatre, ontheimportance AdolphAppia,develops Animation, ontheotherhand,isconventionallyexperiencedaflatscreen. Films, The flatness of film and animation is dependant upon the type of surface thatis The flatnessoffilmandanimationisdependantuponthetypesurface Adolph Appia,“Actor, Space,Light,Painting,”in Vivian Sobchack, Vivian contact withandassumesreality withinthescenicspace. itisthroughsetting comesjustaftertheactorinimportance; itthattheactormakes body mustmostcarefully takethisfactintoaccount.Theoverallarrangementofthe mobile andplastic,itexistsinthree dimensions.Spaceandtheobjectsusedby himthereaction. Without canbenoactionandhencedrama…Thebodyisalive, The firstfactorinstagingistheinterpreter: theactorhimself.Thecarries The Address oftheEye:APhenomenologyFilmExperience The Address oftheEye:APhenomenologyFilmExperience 3.3 Theoriesofliveness The Twentieth Reader CenturyPerformance 1 (Princeton,New 2 , Vivian Vivian 100 , ed. - 3. Run-time: Animation playback McCall’s projection screens inorder tospatialisethesiteofprojection. Forexample,inAnthony as projection. usedtheirownbodiesandothernon-cinematicsurfaces Theseartists work tobesculptural,forme structures, suchaswipesbetweenellipsesandwaves.Although McCallconsidershis moment. McCallrefers tothegroundbreaking experiencethatthisworkengenders: manifest. Itcanbephysicallyexperienced.isnotimagined.existsinthepresent thereforeor dustparticles, creating three-dimensional conesoflight.Thelineismade Co-op, whitelinesmovingslowlyacross blackexposedfilmare projected ontosmoke to create intricatebeamsoflight. lines onablackbackground, whichare projected intheformofQuickTimemovies Returning tothisbodyofworkin2000,McCallnowusesFlashanimatewhite Figure 36.AnthonyMcCall, Modern, London,2007). 2 and MarinaWarner (London:Hayward GalleryinassociationwithLundHumphries, 2004),170. 1 Anthony McCall,“ThenandNow”(paperpresented atthePervasive AnimationConference, Tate Anthony McCall,“AnthonyMcCall,”in i.e. thespaceisreal, notreferential; thetimeisreal, notreferential. beyond thisreal time.Itcontainsnoillusion.isaprimaryexperience,notsecondary: This filmexistsonlyinthepresent: themomentofprojection. Itrefers tonothing It isthefirstfilmtoexistinreal, three-dimensional space. Line DescribingaCone Line DescribingaCone Line DescribingaCone

(1973), originallyshownattheLondonFilmmaker’s 2 Thesoftware allowshimtomakemore complex Eyes, LiesandIllusions , 2002,WhitneyMuseum. 3.3 Theoriesofliveness isalsoaworkofanimationand , ed.Laurent Mannoni,Werner Nekes 1 101 3. Run-time: Animation playback Reproduced from theMusionshowreel. Figures 37-42.Madonna andtheGorrillazat48thGrammyAwards, 2006. seemed tohaveanembodiedspatialexistenceastheyduettedwithMadonna. by updated, high-techversionoftheoldPeppersGhostillusion I created specificallyfortheMusionEyelinerholographicprojection system. graphic projection ofwhitelinescametogethertoformagianthead,waspiece that bon in2005. Using the Musion Eyelinerholographic projection system popgroup, ‘live’attheMTVawardswhen thecartoon theGorillaz,performed inLis forming ‘live’andappearingtohaveapresence inthree-dimensional spacehappened charactersper A contemporaryexampleofnotjustanimation,butactualcartoon re-created attheTate Modern. it waspresented assuchatthePervasiveAnimationconference in2007,where itwas 4 See venue intheunderground tunnelsbeneathLondonBridgestation. oftheHolographicSerendipity FairandShunt,aperformance in 2010aspart showatKineticaArt Thiswasawarded Award category)in2009. Itwasshown aMAMAHolographicArts (Performance 3 2 about_musion_eyeliner.html (accessedSeptember15,2010). 1 film without the addition of live performance atthe2009Awardsfilm withouttheadditionofliveperformance Ceremony. L’Homme alaTêteenCaoutchouc White Lines cf. Barnouw, “Musion Eyeliner|3DHologramHolographicProjection,” 2010,http://www.musion.co.uk/ DVD Chapter3 (2009-10) The MagicianandtheCinema for videodocumentationoftheholographicscreening ofthe 3 , a hybrid of live performance andanimationinwhichaholo , ahybridofliveperformance (‘TheManwiththeRubberHead’’),afilmdirect , 27-28. 3.3 Theoriesofliveness 2 , theseanimatedfigures White Lines 1 , which is an 4 Inspired 102 short short - - - - 3. Run-time: Animation playback and lightningsketchactsattheoriginsofanimation.Extendingmyprevious project, ed byGeorges Mélièsin1902 hardware suchasArduino -anopen-source electronics prototyping platform,which the computerandphysicalworldoutsideitcanalsobecreated withcustomisable by movingacomputerprintoutonsheetofpaper. Complexcommunicationbetween to movethrough environment spaceaftercalibratingthecameraviewwithvirtual to lookthrough theirwebcamandseeathree-dimensional shapeoranimationappear devices suchastheNintendo3DS,augmentedreality techniquesenabletheviewer drawing withinaholographicprojection drawing. ofthesameperformance revealing themodeofproduction asIcreated alive,three-dimensional performance a repetition oftheactionsthathadbeendonetocreate Iwas theinitialfilm.Ineffect, Out There intheDark black anddrew white linesonmyselfwithinaholographicprojection of that isrotating through three Iwaspainted dimensions.Duringtheliveperformances, the whitelineswere apparent. Asthelinesmovetheyappeartodepictagianthead Shown withtheMusiontechnology, everythingthatisblackinvisibleandsoonly was then digitally manipulated and hand re-touched in the computer with After Effects. I filmedmyselfpaintedblackandthendrew whitelinesaround myhead.Thisfootage animate myselfintoexistencebydrawingwithlight.Inorder tocreate thegiant head, of the non-matrixed act of animation. In other words, this represented an attempt to presence through nature theuseoflineand,thus,toinvestigateperformative mensions are emerging, suchasthe3Ddigitalcinemaprojection computers. However, other technologies for experiencing moving images in three di launched withthefilm fully experiencethethree dimensionalefectiswiththenakedeye. this workduetolightlevelsandthewayinwhichtechnologyworks ontheeyes.Theonlywayto impossibletoaccuratelyphotograph filmatKineticaandShunt.N.B.itisvirtually jection oftheshort 1 2 See Rubber Head),1902.onpage44. The flatrectangular screen isthetraditionalsiteofdisplayforworkscreated with Cf. Figures 14&15.Georges Méliès, dir. L’homme a laTêteenCaoutchouc(TheManwiththe Plate 17 onpage185forstillimagesfrom insidetheholographicpro- theliveperformances , Avatar the conceptbehindthispiecewastotraceanderasemyown (2009). Intheonlineenvironment andthrough theuseof 1 , White Lines 3.3 Theoriesofliveness references thesmokeandmirror illusions

technology thatwas White Lines 2

103 in - 3. Run-time: Animation playback animate adollinthephysicalworldthatwasactivatedbypresence ofaperson. for example,tolightupLEDsoractivateamotor. In2007,Iusedthistechnologyto data tothecomputer. Thiscanalsobeusedtocontrol eventsinthephysicalworld, or lightlevelsabuttonbeingpressed –andtheArduino board cantranslatethis it. Sensorsorcontrol mechanismsgetinformationfrom theworld–liketemperature acts as a bridge between the world inside a computer and the physical world outside looked at: yet theyalsoare anobjectoftheperception ofothers.Theyare atoncelookerand viewer to a world in which their phenomenal body is the subject of perception and through spaceandviewitfrom different angles,butalsobecauseitconnectsthe dimensional spaceisnotonlyexperiencedbecauseofthebody’s potentialtomove tual three-dimensional physicalpresence, react toandshare aspacewiththeviewer. can notonlybeviewed with theillusionof three-dimensional space, butcanhaveac ed cinematechniques,holographicprojections andinteractiveautomata,animation the normalrulesofphysicaluniverse,theseexamplesshowthatthrough expand screen. Animation can become physical. It can exist in real, three-dimensional space. this process, animationcanleavethecomputerandboundaryofrectangular create movementinthephysicalworldthrough control overasmallmotor. Through film. Inthisexperiment,codefrom thecomputerwasusedasameanswithwhichto and enactmovement.Thismediatingfunctionisnolongertheexclusivedomainof that computer code can be usedasamedium with which to create, store, transmit the worldtomakedolldance.Thisproject waspivotalformetogaintheinsight information wastakenintothecomputerviaArduino board andthenoutagaininto Human proximity triggered theautomaton asitbroke alaserbeamofred light.This 1 See Proximity isnot,however, onlyexperiencedspatially. ForMerleau-Ponty, three Although ananimatedcharacterlacksareal lifeforce anditsbodydoesnotobey the sameworld,asisproved bymyperception ofanotherwhoimmediatelybrings the problem oftheirrelations, sincethe‘forme’andothers’co-existin oneand others’, andmyphenomenalbodytothatof‘forme’,we cannot refuse topose It isindeednotenoughtosaythattheobjectivebodybelongs totherealm of‘for Plate 18 page186forphotographs 3.3 Theoriesofliveness 104 1 - -

3. Run-time: Animation playback A the abilitytoreciprocate asMeikeWagner pointsout: from theperformer. Thisisdeniedbythetraditionalpuppetwhichlackssentienceand and asenseofherownagencytobefeltthrough apotentialorimmediatereaction and viewer, whichisdeniedintheclassic realist film,allows theviewer’s ownpresence ortheelectricmomentofeyecontactbetweenliveperformer Audience participation explicit exchangebetweentheselfandothersisacrucialfeature ofliveperformance. whole bodythatitisnotalone.Itconnectedtoothersintheworld.Thepotentialfor In theactofperception, theconsciousness isreminded through theexperienceof ence, relating ittoagencyratherthandirect witnessing.’ concept ofpresence ‘shiftstoincludeideasoftelematicanddeferred, onlinepres take place.SteveDixonpointsoutthatwiththeemergence ofdigitaltechnologythe audience tobeintheexactsamephysicalspaceforanexperienceofproximity to inthedigitalenvironment and Nevertheless, itisnolongeressentialfor performer creating andtelematicenvironments livedanceforvirtual in the work and provoke a reaction. Helen Bailey also concludes from her experience of through an acknowledgement of the spectator’s agency, her potential to interact with s theexampleof Installation Practice,” 4 Merleau-Ponty, 1 3 2007), 129. editedbyFredaPerformance, Chappleand Chiel Kattenbelt.(Amsterdam; NewYork: EditionsRodopi, MeikeWagner, “OfOtherBodies:TheIntermedialGazeinTheatre.” IntermedialityinTheatre and 2 Helen Bailey, “ErsatzDancing:NegotiatingtheLiveandMediatedinDigitalPerformance Dixon, me backtotheconditionofanobjectforhim. viewing withitsdeadeyes. through theencounterofobjectbody(puppetbody)onstage-responding tomy My body, whichIperceive ofmyselfisdisturbed asbeingan intimate, integralpart environments. co-located physicalspace,butcanalsorefer to...distributedandonlinecollaborative However, from thisproject itisalsoevidentthat‘shared space’nolongerrefers toa feedbackorinteractivitywithintheshared participant socialspaceofperformance. ... ‘presence’ inrelation hasaninextricablelinkwith to‘live-ness’or‘liveperformance’ International Journal of Performance Arts andDigitalMedia Arts International JournalofPerformance , 132. Digital Performance: AHistoryofNewMediainTheater, and Digital Performance: Art, Dance,Performance Phenomenology ofPerception At HomewithMrandMrsSmith 4 2 , footnote,106. 3.3 Theoriesofliveness 1 shows,theactofexchangebe 3,no.2(2007):164. 3 Stereobodies Proximity isexperienced (2005)that: 105 - - 3. Run-time: Animation playback in more ofthepresent’. detailhowdigitaltechnologyenablesanimationtobean‘art by acknowledgementoftheviewer’s agency. InthenexttwosectionsIwillexamine present time-and‘here’ -boththrough beingexperiencedinthree-dimensions and ogy, evenifthere is nophysicalproximity. canbeachievedthroughtween spectatorandanimatedperformer interactivetechnol 1 In this section, I have argued that animation can be experienced ‘now’ - in the Barba, The PaperCanoe:AGuideTo Theatre Anthropology 3.3 Theoriesofliveness , 36. 106 1 - 3. Run-time: Animation playback I paradigm tointerfacerealityandthehumanexperienceinnewways.’ the databaseasakeyformofculturalexpressionfordigitalage:‘…anew Manovich points out in how movingimagescanbecreated,manipulated,storedanddelivered,asLev tionally playedback.Digitaltechnology,however,representsaparadigmshiftin ation asopposedtothepredictablewayinwhichafilmoranimationisconven and customised for individual viewing experiences. the sameassetscanbecombinedinuniqueconfigurationsfordifferentoutputs data canberetrievedfromstorageinadatabaseoncomputermeansthat as mybestfriend’semailaddressoraholidaysnapshot.Theeasewithwhich machine, aframeofdigitalvideoisaseasyformetoaccessoncomputer frames offilmonebyinalinearmannerthroughSteenbeckfilm-editing stored onacomputercanberandomlyaccessedinanyorder.Unlikeaccessing tions andsothismaterialisinherentlysynaestheticmalleable. zeros andonesareusedtodescribeimage,sound,textoperationalinstruc Read) 3.4 Improvisation andthedatabase for backgrounds, props, keyfacialexpressions andmouthshapes–thatcan then be acter. Adatabaseisusedtoorganise assets–loop-ableanimatedcycles,artwork character are triggered byuserinteractiontocreate aseeminglyspontaneouschar tems to simulate human behaviour. Vast databases of potential movements for a the audience:allofthesedefineimmediacyperformanceinalivesitu mprovisation; spontaneity;anunpredictable,wittyresponsetoahecklerfrom 4 3 24thAnnualConference, (CHArt) UniversityofLondon,2008). of Art (paper presented andPerception attheSeeing…Vision inaDigitalCulture: ComputersandtheHistory 2 1 Mulder, andSusanCharlton(Rotterdam: V2_Publishing/NA:Publishers,2003),13. Games designersare currently intelligence-leddatabasesys workingonartificial Lev Manovich,“Metadatingtheimage,”in cf. Manovich, cf. Birgitta Hosea,“Photosonic Synthesis:HearingColour, Gesture” SeeingSound,Visualising Manovich, The LanguageOfNewMedia The LanguageOfNewMedia The Language of New Media. 3.4 Improvisation andthe database , 19. Making Art ofDatabases Making Art , 36-45. : LittleHoward (Howard 1 3

Lev Manovich describes In digital media, the same , ed.JakeBrouwer, Arjen 2 4 Thedata

107 - - - - - 3. Run-time: Animation playback TV showonCBBC. sidekick,aswellachildren’sdian whodoesalive,stage,double-actwithcartoon character. Thisapproach isillustratedintheworkofHoward Read,astand-upcome operator canenableanon-linearrangeofliveanimatedresponses from acartoon behaviours canbecreated togivetheappearanceofspontaneity.’ improvisation inagame:‘systemsbasedondatabasesthatsimulaterepertoire of company Electronic describesthedatabase asawaytocreate Arts thepossibilityof rather thantheemploymentofexpensiveanimators.EricArmstrong from thegames programmers beingabletodrawfrom adatabaseofmovementsdescribedbycode a definitivecategorisationsysteminprogrammed database.Thiswouldresult in mance, inwhichallpossiblehumanmovementcouldbedescribedanddefinedwithin the crowd scenes. be usedfordifferent characters. The gamedesignerstrytorecycle asmuchpossible,sothesameanimationcan intelligenceandadatabaseofanimation. a combinationofuserinteraction,artificial used ingamescanbecomprehensive. gameslike Insports manageable taxonomy of their information. The databases of animated performance about afileandformsbasisforaddingcriteriathatwillallowtheusertocreate a finished product. Metadataisawayofdescribing,savingandappendinginformation be abletostore, manageandaccessthehugenumberofassetsthatmakeup retrieved andre-used. Alldigitalanimationnowinvolvessomeformofdatabaseto World Cup and towinawards suchastheBBCNewComedyAward foranimationin2001.Thepopularityofhis the RadioTimesOnlineasfunniestanimationofweek.Hewent ontodevelopmore animations doodle andcreate onlineanimationsforhiswebsite.Oneof animationswaspickedupby hands duringthedayanddevelopedawebsiteforhimself.Ashelearned thesoftware, hebegan to outasastand-upcomedianwho,sinceheworkedmainlyatnights,had timeonhis Readstarted 5 4 3 2 2006). FMX/06: 11thInternationalConference RealtimeandContent,Stuttgart, onAnimation,Effects, 1 Through triggering a database of pre-created animated clips in a live situation, an Ibid. Ibid. Ibid. Eric Armstrong andElectronic “Creating (paperpresented Arts, aDigitalPerformance,” atthe there are 25,000potentialfootballplayersand60,000‘extras’in 5 1 Read’s publicitystatesthatheistheworld’s first human/cartoon The performance of all these games characters is created The performance from 3.4 Improvisation andthe database 2 Theholygrailofgamesdesignisprocedural perfor FIFA 2006Roadtothe 4 108 3 , - - 3. Run-time: Animation playback curate in the light of Winsor McKay’scurate inthelightofWinsor double act,buthequietlyacknowledgesininterviewthatthismaybesomewhatinac comedy: tion. Readhasdevelopedatechniquethatwasinspired byasatire onimprovisational character isgeneratedbyadatabaseofpre-animated clips,iscapableofimprovisa the only human cartoon doubleact’ the onlyhumancartoon Reproduced withpermissionofHoward Read. Figures 37&38.Howard ReadwithLittleHoward, undated.Publicityphotos. 2 1 nominated foraPerrierAward in2003. tointegrateanimatedmaterialinhisstand-upactandthisgot animated charactersledhimtostart Read’s alterego, Ibid. Read, interview. to itlive,thatwasthebigtrickgot Asking theaudiencewhat’s yournameandwhere doyoucomefrom andresponding lazy supposedimprovisation bycompletelymechanisingit. of improvisational tosatirisethatsort genius.Itwasabitofsmugjokeonmypart when theysaythejokeaboutplumbers,itlookslikemade itup.Theylooklikean same answerfor‘I’maplumber’astheyhadintheirheadjoke aboutplumbersand do foraliving,’haveaskedthatquestionmilliontimesbefore. Theyhavegotthe of comicsthatdoalotthe,‘What’s yourname,where are youfrom, whatdoyou what theaudiencewere goingtosay, whichalotof on-stageimprovisation is.Alot Everything, allthejokes,were pre-recorded anditwasallaboutsecondguessing base ofanimationswhichyoucouldplaytogetherusingFlashtocontrol thekeyboard. Little Howard 3.4 Improvisation andthe database , iscreated usingFlashsoftware and,becausethe 1 . Gertie theDinosaur Gertie Little Howard noticed.Itwasbasicallyadata- andamendsthisto‘currently 2 109 - - 3. Run-time: Animation playback spontaneity’ former during training that is recalled situation as ‘re-elaborated during a performance draw upon.Indeed,EugenioBarbadescribesthetacitknowledgeacquired byaper tually the product of a repertoire of tried and tested material that the improviser can Read’s argument isthatimprovisation, thatultimateexpression ofspontaneity, isac in hisrepertoire. agency, tofeelingtheirimpactontheperformer. thesuccessofhisCBBCTV With In otherwords, theaudienceresponded bettertoseeinganacknowledgmentoftheir cover everyeventuality: responses that he might get from the audience and developed an animated clip to In preparing hisimprovisational comedyact,Readthoughtthrough allthepossible life, theydrawuponastore ofknowledgeintheprocess oftwice-behavedbehaviour. the response thattheanimatedcharactermade: Sound Designer, RichWalsh, claimsthat 1 Performer 4 London, January28,2009). 3 2 Eugenio BarbaandNicolaSavarese, Read, interview. Rich Walsh, “Sound DesignattheNationalTheatre” (presentation, NationalTheatre Archive, Read, interview. because hewasakid,he’dgetawaywithsaying. response forit,he’dgo,‘What?’or‘What’s oneofthose?’orvariousotheronesthat, there wassomethingIdidn’thave.hadacoupleofcover-alls,but,ifhave jokes, butthen,whenIwasdoingthatonaregular basis,I’dwriteoneforeverytime withsomethinglike20 off ably thinkwouldpossiblybeinanaudienceandIstarted Initially, before itlive,Ijustthoughtaround Iperformed everyoneIcouldconceiv- person would. it andsotheaudiencefeellikehe’s there intheroom, becausehe’s reacting likeareal completely incontrol ofwhatLittleHoward saysandmore importantly, whenhesays I doit.Thatisprobably thebitthatisstillcompletelyliveandinteractive,I’m and theaudiencenevernoticethatIamonwithaclicker. Theyalwaysaskmehow tion clickerandItimeLittleHoward’s nextlinetowhentheaudiencestopslaughing wasn’t real. ButwhatIdoisthathavegotstopsinmyanimation.apresenta- they didn’trespond toitinthewaythey’drespond toaliveperson,becausehalfofit it didn’twork,becausetheaudiencewere aware thattheywere watchingafilmand had totimehisreactions exactlyrightanditdidn’twork.Itwasbrilliantlywritten,but andheinteractedwithcharacters.Basically thefilmplayedcontinuouslysohe stuff I hadafriendcalledXXwhodidaninteractiveshowwithfilm,where he’dfilmedsome , trans.Richard Fowler, Second.(London;NewYork: Routledge,2006),121. 1 . On stage the performer doesnotbehaveastheywouldineveryday . Onstagetheperformer 3 Afactorinthesuccessofactwastimingandimmediacy 4 3.4 Improvisation andthe database A DictionaryofTheatre Anthropology: TheSecret ofthe Art Little Howard 2 had100possibleresponses 110 - - 3. Run-time: Animation playback formance ina‘straightman’persona: Interestingly, thewaythattheyengagewith than verbalresponses: sponses hasledhimtorestrict theinteractionwithaudiencetophysicalrather show, Readnowfocusesonafamilyaudience. Theunpredictability ofchildren’s re Figures 45&46.Howard ReadwithLittleHoward attheRoyalVariety December2007. Performance, clips, audiencesperceive 3 2 1 Despite beingcreated byateamandgeneratedfrom adatabaseofanimated Ibid. Ibid. Ibid. their disbeliefanddoseemtobelieveinhim–adultsaswellkidswhichislovely. and theytreat himlikeareal person...It’s really interesting howpeople…suspend What’s niceabouttheliveshowisthatkidsforget thatheisonaprojection screen it shockingandlaugh. mediately finditshockingenoughtolaugh,butifIgo,‘Oh,howcanyou!’thenthey almost, ifthatmakessense…Ifhesayssomethingshocking,theaudiencedon’tim- That really makesitwork,becausethentheyfilterwhatshouldthinkthrough me, really quiet.It’s toseehowareal important personreacts Ithink. tothecartoon, my God!’really big,itgetsamuchbigger laughthanifIgo,‘Ah,forgoodnesssake’, live really howthejokegoesdown.IfhesayssomethingappallingandIgo,‘Oh affect Basically Idotheset-upstojokesandhedoespunchlines,butmyreactions crutch thenhedoublesoverandfallsover. him intheface,thenitsmacksfaceandhefallsover. Ifithitshiminthe throws theballtoLittleHoward. Ifitmisseshimthenhegoes,‘You missed’.Ifithits catch withLittleHoward. Ithrow aballtokidandthenthecomesonstage There’s lotsofitwhere thekidscomeuponstageandthere’s abitwhere kidsplay Little Howard 3.4 Improvisation andthe database 3 asacoherent andunified character: Little Howard 1 isinfluencedbyRead’s per 111 2 - - 3. Run-time: Animation playback algorithmic data. section, Iwillexaminethecreation ofanimationlivethrough biofeedbacksensorsand wealth of previous techniques and experiences that they have access to. In the next to improvise inalivesituation.Ashedescribes,skilledimproviser drawsupona with adatabaseofcarefully prepared actions andsnippetsofdialoguecanappear prior experienceandarepertoire ofpreviously usedmaterial,ananimatedcharacter Howard Read’s stageactdemonstratesthat,justasimprovisation isbasedon 3.4 Improvisation andthe database 112 3. Run-time: Animation playback F 3.5 Performing animationlive 3.5 Performing Figure 47.PaulKaiserandShelleyEshkar, visuals,Merce Cunningham,choreography, Paul KaiserandShelleyEshkaroftheOpenEndedGroup, whocreated thevisuals, original dancers. was usedtocreate dancersthatwere virtual projected atalarge sizealongsidethe Life todothechoreography for movements ofthelivebody. ing multi-modal, non-verbal cues to generate animation dynamically from the or motiondetectors.Digitaldance,inparticular,haspioneeredmethodsofus techniques suchassensingtechnologies-camera-basedmotionanalysis,sound ence. Improvisationalanimationcanbegeneratedthroughuserinteractionby of theatricalproductions,allowinganimationtobecomepartaliveexperi this hasbecomemoreaccessibleanddigitalprojectionsareacommonfeature

Installation 1 In Merce Cunningham’s seminaldancepiece, magic lanternslidestolightorgans.Withtheadventofdigitaltechnology or centuriesprojectedimageshavebeenpartofliveperformance,from Dixon, , 187-192. Digital Performance: AHistoryofNewMediainTheater, and Digital Performance: Art, Dance,Performance 1 Cunninghamexperimentedwiththecomputerprogram Artificial Biped 3.5 Performing animationlive 3.5 Performing asanextensionofhisinterest bodies. invirtual : Quartet (Margie: Quartet Medlin,2007) Biped (1999) , motioncaptured data Biped , 1999. 113

- - 3. Run-time: Animation playback become ‘real-time creators’. of playinganinstrumentandclaimsthattheusetechnologyallowshisdancersto Dead: LiveisAlive’. who workwithlive,spontaneousgenerationofdigitalimages,claims‘DigitalMediais formers, nottheanimation. interacted with the live body, of the per but any form of spontaneity was on the part actions were carefully rehearsed tosynch withthevisuals.Theprojected animation clips were usedwhoseplaybackwassynchronised and predictable andthedancers’ well co-ordinated Thus, pre-recorded with the actual movements, to dramatic effect. that pre-recorded animationprojected ontoa20ftscriminfront ofthedancerswas remain themselves.’ asfluidandalivetheperformers organic ontothefixednature oftheelectronic, ensuringthatthedigitalmaterials over thevisualsthatare shownonstage,sothattheycanimpose:‘thechaosofthe production lacksfluidityandspontaneity. To counterthis,hegiveshisdancerscontrol a dancepieceandlimittheoptionsforimprovisation digitalre andchance,perfect of dancers’movement. had along-standinginterest andintracingthegestures indrawingasperformance, dancers liveandplaybacktheabstractionsinreal time because computerprocessing enoughtocapture in1999wasnotyetpowerful the was created intheformofpre-recorded clipsthatwere projected ontothestage, hand touchedandproduced anabstractionoftheoriginalmovement.Theanimation tural lookinganimationderivedfrom themotioncapture datathatwaspainstakingly programmers who went on to create the software Character Studio, to develop ges 5 4 2004), 6. Of DigitalTechnologies, ed.GavinCarverandColinBeardon (Exton,PA: Swets&ZeitlingerPublishers, TheImpact InPerformance: ofBeingInteractive,”inNewVisions Coniglio,Mark.“TheImportance 3 2 Conference andTechnology, onArt Bilbao,Spain,2006). 1 Mark Coniglio,musicianandprogrammer forTroika Ranch,adancecompany Ibid., 12. Ibid., 7. Ibid. Paul Kaiser, “ANewKindofPicture” (keynotespeechpresented attheTechnarte International 3 Heargues thatjustaspre-recorded soundtrackscanconstrain 1 Aftermotioncapturingthedancers,theyworkedwith 5 In order for this towork,the dancers useinteractive 3.5 Performing animationlive 3.5 Performing 2 . Thechoreography ensured 4 Conigliousesthemodel 114 - - - 3. Run-time: Animation playback engineers, computerscientists,a3ddesignerandmotioncontrol cameraexpert. specialists from alloverEurope andAustralia-dancers,choreographers, musicians, The project wasco-produced bytheICA,andcreated byaninterdisciplinary teamof for danceandhascreated animationin3DStudioMax,directed thisgroup project. Margietralian artist Medlin,whohasabackground inlightingdesign,CADanddesign mechanical robotic camerawhoselivevideofeedisprojected ontothebackwall. sound and gesture. In addition, the ‘real’ dancer’s actions control the movements of a dancer, iscontrolled bya‘real’ inaliveperformance dancerandamusicianthrough that tendstowards theabstract,in cage ripplingorbreathing inresponse todancers’movements. movements andgeneratedreal timeinteractiveimagery:DNAstrands;agiantrib digital mediainreal time.In a software program Conigliohasdeveloped,thatallowsthedancerstomanipulate by thesensorsissentwireless toacomputer, where itisinterpreted byIsadora, sensors measuringelementsoftheirmotion,suchasjointflexion.Thedatameasured technology sothattheyhavethefreedom toimprovise. Thedancerswearwireless formance andinformnewchoreographies. nological systemfordancersthatwouldincrease theirpossibilitiesforcreating per is usually rigidly set to apre-composed the composer, score, but Stevie Wishart, was not justmusic,sothatthelinksbetweensoundanddancerwere clear. Medlin wantedtoworkwithacomposerthatwasinterested increating movement, to visualisesoundandcreate asensationofthedancers’movementsthrough sound. 4 3 5 Development 2 1 Influenced byMerce Cunningham’s Whereas the Troika Ranch dancers generate imagery through their movements Medlin, Medlin, interview. Ibid. Margie Medlin, Margie Medlin,interviewby Birgitta Hosea,May11,2010. Morphing Physiology , DVDPAL (London;Australia,2009). Morphing Physiology. Project: Systems TheQuartet AReal-TimePerformance 16 [R]evolutions, . 3.5 Performing animationlive 3.5 Performing Quartet Biped 3 Shealsowantedtoexplore synaesthesia: (2007), a virtual animatedcharacter, (2007),avirtual a , Medlin’s intentionwastocreate atech cameratrackingcaptured thedancers’ 5 Dance 115

Aus- 2 1 4 - -

3. Run-time: Animation playback Figure 48. THE ICA PRESENTS THE Quartet promotional flyer, 2007.ICA,London. 3.5 Performing animationlive 3.5 Performing

QUARTET AT 7.30 PM AND 18 AT 5PM. AT 7.30 AND PM 15,16,17, FEBRUARY LONDON. FARRINGDON, HOSPITAL, ST.IN BARTHOLOMEW’S HALL GREAT AT THE PERFORMANCE A LIVE ACOUSTIC COMPOSITIONS BY STEVIE WISHART. WISHART. STEVIE BY COMPOSITIONS ACOUSTIC ELECTRIC PRODUCES THAT PHYSIOLOGY OF FIELD THE IN RESEARCH SCIENTIFIC NELSON. LISA AND MALIPHANT RUSSELL ANDERSON, LEA BY CREATED ARE DATA SENSORY FROM CHOREOGRAPHIES DANCER. VIRTUAL AND ROBOT DANCER, MUSICIAN, PLAYERS: FOUR INTERCONNECTS THAT EXPERIMENT EPHEMERAL AN 116 WWW.ICA.ORG.UK 020฀7930฀3647. LONDON฀SW1, THE฀MALL, ICA฀BOX฀OFFICE, FOR฀TICKETS฀CONTACT: 3. Run-time: Animation playback Figures 49&50. violin, 2007.TheGreat Hall,StBartholomew’s Hospital,London. Figure 51. Quartet Quartet , technical set-up of acoustic instrument to virtual dancer,, technicalset-upofacousticinstrumenttovirtual 2007. , Stevie Wishart creates movementinananimatedcharacterthrough, StevieWishart playingher 3.5 Performing animationlive 3.5 Performing 117 3. Run-time: Animation playback explored randomnessandimprovisation, workinginparallelwithoneanother. between thecomposerJohnCageandchoreographer Merce Cunningham,who interested innewrelationships betweenmusicanddanceinspired bythecollaboration Figures 52&53. control oftherotation dancerandthemusicianwhois ofthewholebody thevirtual tual animateddancer. itisthereal Inonesectionoftheperformance dancerwhoisin by themovementofgestures totheanimation. ofplayingwasimportant hadtoletgosomeofherfavoured waysofplayingbecausethedatacreatedWishart dancer created inSoftimageXSIandMotionBuilder. Duringthedevelopmentprocess, of theviolinistprovided datastreams thatcontrolled adigital3dcomputer-generated dancercharacter.animated, virtual Boththesoundofviolinandmovements alsocontrolledgestures orpuppeteered shemadewhileplayingtheviolin,Wishart an we heard thesoundofviolinitselfinadditiontohandgestures. Through the thetic soundsbymakinghandgestures ratherthanthrough theviolin;atothertimes shecreated oftheperformance purelystrings. Thismeantthatinsomeparts syn gyroscope andaccelerometer onherhandandthrough theremin sensorsonthe by the software MaxMSP, having been measured by a bendsensor on her elbow, troller. Boththehandgestures andthesoundsshemadewere digitallyanalysed 2 1 Either Wishart, themusician,orareal dancer,Either Wishart, CarleeMellow, couldcontrol thevir As aperformer, wasinterested inusinganacousticinstrumentasacon Wishart Medlin, Margie MusicMakesMoves”(presentation, Medlinetal.,“Quartet: ICA,London,2007). Morphing Physiology Quartet , connections between audio inputs and movements of the virtual dancer,, connectionsbetweenaudioinputsandmovementsofthevirtual 2007. . 3.5 Performing animationlive 3.5 Performing 2 1

118 - - - 3. Run-time: Animation playback characters movement,2007.TheGreat Hall,StBartholomew’s Hospital,London. Figures 54&55. resembles thearmsandheadof samecharacter.affecting Thismulti-authored performance ments inthechoreography, astherobot didnotcopythearmsandoneoflegs. sors ononelegandtorsoonly. Thisallowedthedancertocreate counterpointmove movements couldprompt extreme reactions, sotheset-upwaskeptsimple,with sen to therobot cameraandthatthesensorswere sosensitiveandsubtlethateveryday rored bytherobotic rig.Mellowreported initiallyfeelingnervousaboutgettingclose compass. This resultedthe back with a virtual in the dancer’s movements being mir used forgaitanalysis:detectingrotation, leanandtiltthrough athree axissensoron robot camerawascontrolled bythelivedancerusingasimpleriginspired bythose movement ofarobotic camerarig:arobot withawireless cameraforahead.The dancer projected onascreen atthebackofstageandinadditioncontrolled the sensor onherkneeandwaist.Thesesensorscontrolled aspectsoftheanimated ofonepuppet. operate ondifferent bodyparts Figures 56-8. 2007. TheGreat Hall,StBartholomew’s Hospital,London. 1 On theoppositesideofstagetoviolinist,real dancer, Mellow, hada Ibid. bunraku Quartet, Quartet, CarleeMellowcontrols therobotic camerarigthrough herphysicalmovements, puppetryortheworkofFaultyOptic,where different puppeteers Stevie Wishart andCarleeMellowcollectivelycontrol different StevieWishart aspectsofthe 3.5 Performing animationlive 3.5 Performing 119 1 - - - 3. Run-time: Animation playback Figures 59-62. Hall, StBartholomew’s Hospital,London. Quartet , CarleeMellowcontrols theviewthrough therobotic camera,2007.TheGreat 3.5 Performing animationlive 3.5 Performing 120 3. Run-time: Animation playback DVD, I amexcitedat how the movements are unnatural, strange and stuttering and strangestaccatodouble-jointedmovements.Lookingbackatthe ‘floor’ orperforming characterseemedtomalfunction, withherlegsgoingthroughpoints, thevirtual the sources tocontrol heranimation.Thesewere intendedtoallowherimprovise. At up: thatwhichwasilluminated.’ generic blackspace,itwouldonlybelookingatitself.That’s allitcouldpossiblypick for me that the camera had something to look at. So if we did it in a very important projection of the interior was an important part oftheshow.projection part oftheinteriorwasanimportant its resonance withthefieldofbiomedicalscience,bodyandtechnology Thesite,oneofLondon’sto theactualperformance. firsthospitals,waschosenfor around of the hall itself and then moved it back and made the camera focus on parts whenMellowmoved effective lined withillustriouspaintings,andsoitwasparticularly the Great Hall at St Bartholomew’s Hospital, was full of visual interest, such as walls between thecamera,dancer, spaceandthemovingimage.’ engenders, ‘…anewtypeofstagethatpossessesendlessinteresting relationships her imagewasinclose-uponthescreen behind.Medlinfeelsthattherobot camera There were momentsofintimacywhenshepressed herfaceuptothecameraand She controlled howwelookedathermediatedimagethrough therobot camera. alongside theanimationofdancer. Thus,Mellowdirected theaudience’s gaze. Figures 63-65. 3 2 1 Projected atthebackofstage,grey CGIanimateddancerhadmultiple Images from therobotic cameras were projected ontoascreen ontheback wall Medlin, interview. Ibid. Ibid. Quartet, Quartet, images of the virtual dancer,images ofthevirtual 2007. 3 3.5 Performing animationlive 3.5 Performing 2 Medlinstates:‘itwas 1 Thehistoricalvenue, 121 3. Run-time: Animation playback section 1.1andinfilmmakerPaulSharits’s film animated mark-making,asisevidentfrom theworkofTakahito Iimuramentionedin the lightorgan. transcend thephysicallimitationsofhumanbody. characterslegbendsbackwardsthe virtual orgoesthrough thefloor, becausethey ECTIONED panded cinemapractices points out, non-linear practice preceded the computer age and has precursors in ex from contemporarydancepracticeutilisedigitaltechnologyyet,asMalcolmLeGrice intodigitaldancemovesinananimatedcharacter.converted from and,through aseriesofliveperformers asynaestheticprocess oftransference, ros andones,informationcanbetakenfrom sound,handgesture orbodymovements neous mannerinalivesituation.Sincealldigitaldatacanbereduced toaseriesofze the projector. in 1986,makingmarksona16mmblackleaderloopoffilmwhileitwasrunning The Canadiananimator, Pierre alsobegantoexperimentwithlivescratching Hèbert, stick figures toillustratetheaccompanimentofapoem. process, anyillusionofreality Sharitsaimedto‘subvert theimagesmightsuggest’ ages were added,andsubtracted,marksspecifictothematerialoffilm.Through this filmstrip asitwaspassingthrough theprojector. Thus,totheserepresentational im of astream, ametaphorfornarrativefilm,Sharitsscratchedsequentiallinesintothe 1 (Toronto: YYZBooks, 2005),175. Index,” in 5 expression (accessed September23,2010). 2009, http://pierrehebert.com/index.php/2010/04/21/180-the-idea-of-animation-and-instrumental- 4 3 2 These examples of the live and spontaneous creation of projected moving images Quartet Le Grice, Tess Takahashi, “Meticulously, RecklesslyWorked Upon:Direct Animation,theAuraticandthe Pierre “TheIdeaofAnimationandInstrumentalExpression,” Hébert, Blog, Liebman, Stuart cf. Hosea,“PhotosonicSynthesis:HearingColour, Gesture”. SeeingSound,Visualising (1968-71), which began as a performance piece. Over footage of images (1968-71), which began as a performance The SharpestPoint:animationattheendofcinema illustrates that an animated character can be made to perform inasponta illustratesthatananimatedcharactercanbemadetoperform 4 Experimental CinemaintheDigitalAge In his performances he wasabletoimprovise, Inhisperformances forexample producing 2 In the past, other artists haveexperimented withthecreation Inthepast,otherartists oflive Paul Sharits 1 and,indeed,evenearlieraudiovisualtechnologiessuchas (StPaul,MN:FilmintheCities,1981),13. 3.5 Performing animationlive 3.5 Performing , 319. S:TREAM:S:SECTION:S:ECTION:S:S: , ed.ChrisGehmanandSteveReinke 5 Hismotivationbehindthis PierreHébert.com 122 , 3 . - - - - 3. Run-time: Animation playback work wastoreveal theprocess andtechnologyofanimation: nity to‘profane’ the‘newtriumphantdigitaltechnology’ software thatwouldallowhimtoprocess digitalimages live. Relishingtheopportu begantoworkwiththemusicianBobOsterlag,whocreatedIn thelate‘90sHèbert live context. and hardware tools available to enable the generation of moving digital marks in a himself usesthetechnologyconceptuallyasanextensionofhisearlierworkonfilm: the techniquesheusesare nowcommoninVJingandnightclubprojections, Hèbert music through the use of VJ software and MaxMSP/Jitter. Osterlag as Living Cinema to create live, immediate improvisational animation and 4 com/music-liveprojects-livingcinema.htm (accessedSeptember23,2010). 3 2 1 As wellasHèbert’s pioneeringworkinMaxMSP/Jitter, there are othersoftware Hébert, “Theideaofanimationandinstrumentalexpression.”Hébert, Bob Ostertag andPierre “LivingCinema,” Bob Ostertag Hébert, Ibid. “TheIdeaofAnimationandInstrumentalExpression.”Hébert, this unleashedactivity… 40sec.loopedfilmthatwascompleted aftermorewas theshort orlessonehourof of theapparatusandprocess astheresult wasasimportant ofthework,which speed astheprojector… thedisplaying, with fulltransparency, In thoseperformances, body) doingallthis,engagedinafrenetic activityinorder toproceed atthesame the engravingtools,framebywork,andbodyofanimator(myown ponents ofcinema:thescreen, theprojector, thestripof16mmfilm,lighttable, …to setsidebyside,inclearview, infront ofthespectatorsalldifferent com- were inlivescratchedanimation. soimportant at thecenterofprocess thebodilydimensionandimperativeof speed,which thing isaccomplishedfrom maintains seriesofimagesdrawnduringtheperformance, series ofdistinctloops,andlivecompositionthoseloops.Thefactthatevery- of thoseimagesintermsmodificationorder andspeed,oftheirsegmentationin tion betweenthelivemanualcreation ofsuccessiveimagesandthedigitalprocessing focal pointofmyworkissituatedprecisely andtheinterac- atthelevelofinterface centrally,performances, are stilllivedemonstrationsofframe-by-framework…The that distinguishesitfrom thecurrent thatsurrounds it.Itcomesfrom thefactthatmy animation... ButIthinkthatthere stillisinmyworksomethingsingular and radical ofamuchmorepart normalizedenvironment thenitwasthecasewithlivescratched universities andisquitecommonlyused.Consequentlymyworkapparatusare video. Thisprogramming ofmany languageisnowtaughtinnewmediadepartments Max/Jitter whichwasprecisely developedforthelivepresentation ofmusicand I useasoftware writtenwiththewellknowngraphicbasedprogramming language way,In acertain ofthismovement. whetherIlikeitornot,amaVJandpart

The Tagtool, forexample,isanOpenSource visualinstru ‘performative 1 3.5 Performing animationlive 3.5 Performing BobOstertag.com 4 2 , Hèbert collaboratedwith , Hèbert 3 Althoughheacceptsthat , n.d.,http://bobostertag. 123 - - 3. Run-time: Animation playback ous backdrops forimprovised andlightingeffects danceandmusicwork. draw aswelltoanimatethesedrawingslive.IusetheTagtool tocreate spontane and joystickcontroller. Thisequipmentallowsyou,inconjunctionwithaprojector, to ment’1 Drawn Together used the Tagtool drawing group, in thecollaborativework I dowith the performance our performances graphite, animation,expandedcinema,whitelightandsound. and videodocumentation. traditional drawnanimationandisrecorded insequentialmotionblurred photographs time. Drawningraphite,whitelightandsound,theworkincorporatesmediaof be considered asliveanimationsinwhichalayered movingdrawingemerges over suchasTomby artists Merry, Walter McCay. BoothorWinsor can Ourperformances vaudevilleormusichalls intheVictorian chalk talksorlightningsketchactperformed drawing iscreated infront asaperformance of a live audience reminiscent of the made toothersasitisbeingdrawn.Ourexperimentationwiththeprocess oflive ing iscreated infront ofaliveaudienceinreal time.Itreveals itsprocess ofbeing Performance –onStage,theStreetPerformance andontheNet February 1,2010). See Sincethetimeofwritinggroup DrawingCollective. haschangeditsnametothePerformance 3 Workshop in2010. Performance that were projected astheywere created LondonInterdisciplinary duringaUniversityoftheArts 1 national, Maryclare Foáetal.,“ARC:IDrawforYou,” DesignandArchitecture, Arts, Visual 6 wordpress.com (accessedFebruary19,2011). 2 See (accessed September15,2010). 5 animation. Ialsousetorches andmanipulatetheprojection ofpre-recorded sequencesofwhite,drawn 4 CentreWimbledon forDrawingthatutlisedtheTagtool. Drawn Together, create live, site-specific, mark making through a combination of OMA International,“AbouttheTagtool Project,” Maryclare Foáetal.,“DrawnTogether,” Blog, Plates 21-22 consisting of an Arduino microprocessor linked to a Wacom drawing tablet Plates 19-20 January 29,2010,http://www.studio-international.co.uk/drawing/ARC10.asp (accessed 3 , asoneofthetoolsIusetodrawandanimatewithwhitelightduring onpage59to117foranexampleofaDrawnTogether at performance 4 . onpage57to59forimagesofspontaneousanimateddrawings 6 3.5 Performing animationlive 3.5 Performing Drawn Together Blog Tagtool: DrawingandAnimationforLive , 2010,http://www.tagtool.org/wp/about , 2010,http://drawntogether. 5 A performance draw Aperformance Studio Inter- 2 Ihavealso 124 - - 3. Run-time: Animation playback delivered inaconfigurationuniquetothespecificmomentofplayback. hall, this builds on planned and prepared,the concert twice-behaved actions that are in thepresent inthetheatre, moment.Justasinliveperformance orthecircus or members cantriggerthedeliveryofliveandspontaneousanimationthatiscreated the datathatisinputintoit.Theresult orevenaudience ofthisisthatperformers a databaseoranalgorythmcapableofgeneratingdifferent imageryaccording to take theformofnon-linear, randomlyaccessed,pre-recorded sequencesstored in rate,temperatureheart orspeed;anddigitalanimation.Thisanimationcould movements measured bybiofeedbacksensorssuchasbend,rotation, jointflexion, tures recorded asdrawings ortext;sound;heat;light;weight;physicalproximity; thetic andcapableofmakingconnectionsbetweendatageneratedfrom handges In thissection,Ihavedemonstratedthatthedigitalmediumisinherently synaes 3.5 Performing animationlive 3.5 Performing 125 - - 3. Run-time: Animation playback L 3.6 Conclusion UpStage 090909 Smith in a shared, online space in the form of unique, one-off performances as part ofthe aspart in ashared, performances onlinespaceintheformofunique,one-off real-time through atext-to-speechsynthesisengine.Ittookplaceinthepresent time swap betweendifferent possibleanimationcyclesandcouldbemadetospeakin made from pre-recorded loopsofFlashanimationthatcouldbemovedaround, could feedback. Thisambitionwasachievedwithmyproject that couldbeunique,synchronous, immediate,spontaneousandrespond toaudience pre-recorded scenographicprojections ontobackdrops andtocreate liveanimation forstatic, animations. Myaimwastogobeyondtheuseofanimationinperformance moving drawingsmadefrom lightandrandomlyaccesseddatabasesofpre-recorded projections, interactiveautomatathatcouldreact tohumanproximity, spontaneous field ofliveanimation,Iexperimentedwithcreating liveanimationonline,holographic Manovich, aswelltheworkofpractitionerswhoIhavedefinedworkingin ‘chance’: theunexpected,unpredictableandspontaneous. practically realised. In particular, I aimed to investigate ‘now’, ‘here’, ‘unique’ and ing of‘liveness’,whetheritcouldbeappliedtoanimationandhowthis author-time and performed atrun-time. author-time andperformed the usersbrowser, Iconsider thisworktobeanimationprepared andrehearsed at wasmediatedthroughwhole cyberformance computercodebytheFlashplug-inof puppetry, becausethecharacterswere created usinganimationsoftware andthe comments. Althoughtheuseofavatarsmayappearatfirstglancetobeanact ers, whowere abletomakethecharactersadlibandinstantlyrespond toaudience inscription in the past at author-time, but can be performed now,inscription inthepastatauthor-time,butcanbeperformed inthe present time. At HomewithMrandMrsSmith Drawing onliterature review, theworkofPhilipAuslanderandLev inparticular cept difficult to define precisely. This chapter addressed the actual mean ive isacommonlyusednotioninPerformanceStudiesandyetitcon , whichwascreated usingtheUpStageonlineenvironment. Thisusedavatars festival.Thecharacterswere operatedbytworemote perform demonstratesthatanimationisnotrestricted to 3.6 Conclusion At HomewithMrandMrs 126 - - - 3. Run-time: Animation playback physical proximity, but,asin be experiencedinthree dimensions.Inaddition,ashared locationneednotinvolve practice inholographprojection andanimatedautomata,Iargued thatanimation can ing examplesfrom expandedcinema,3Daugmentedreality andmyown which theviewerhaspotentialtofeelimpactoftheirownagency. Present ‘here’ isashared socialspacewhichcanbeexperiencedinthree dimensionsandin mance, Ithenturnedthefocusonto‘here’. Myworkinghypothesisforadefinitionof be uniquedependingonthevariabilityofviewingcontext. analogue film,DVDandHDvideothatanexperienceoftime-basedmediacanalso evision, Ipresented oftheontologicalmakeup acasefordisappearanceaspart reasoning thatdisappearanceisafeature ofthematerialontologyanaloguetel that itisaunique,fleetingmomentcaptured onlyinmemory. ContinuingAuslander’s media suchasbroadcast television.Anotherconceptinthedebatearound livenessis sole preserve butisaconstituentfeature ofliveperformance, ofothersynchronous Auslander’sThis supports argument thattakingplaceinthepresent isnolongerthe the performer inalivesituationandwould,thus,appeartoimprovise.the performer sequences stored ina databasethatcouldberandomlyaccessedandplayedbackby ated acharacter, Little Howard, who consisted of a seriesof pre-prepared animation prepared, twice-behavedresponses. Originallyintendedasasatire onthis,hecre Howard Read argues that this is an illusion based on a repertoire of planned and is considered Comedian the most spontaneous and ‘live’ form of live performance. animation thatisplayedbackinaforeseeable formisimprovisation. Improvisation ter toalltraditional notions ofwhat animation is.Atthepolar opposite totraditional technology andaninstant,unpredictable response toaudienceparticipation. andaudience canbeachievedthroughous exchangebetweenperformer interactive or onlinesocialspace.Finally, Iwouldliketomaintainthatthepotentialforspontane As ‘now’ is no longer sufficient todifferentiateAs ‘now’isnolongersufficient time-basedmediafrom liveperfor Another approach todeliveringspontaneous animation istogenerateitfrom com Unpredictability ofresponse inalivesituationishighlyprizedskillandrunscoun At HomewithMrandMrsSmith 3.6 Conclusion , this could be a virtual , thiscouldbeavirtual 127 ------3. Run-time: Animation playback viewer whoexperiencestheplaybackofanimation. enabled animationtobeliveandspontaneous.Inthenext section,Iwillexaminethe theatre, andstand-upcomedymeetanimation,digitaltechnologieshave digitalart but notinatraditionalanimationcontext.Inanarea where dance,interactivemedia, technologies haveenabled hybrid formsofpracticethatuseanimationtechnology, be usedtomakeinstantconnectionsbetweenimagery, sound anduserinput.New inherently synaesthetic materialityofthe digital enablescomputer programmes to / animator and acomputer programme.link between the body of aperformer The andtheuseofphysicalcomputingtoenableadynamic databases ofperformance animated character, digitaltechnologyhasenabledanimationtobecomelivethrough seeming disparity between a live and spontaneous human actor and a pre-recorded can bedelivered asatwice-behavedbehaviourinthepresent. three-dimensional space. Nolongerrelegated tothepast,ananimatedperformance spontaneous events.Animationcanevenescapetheflatscreen andtakeplacein ated from algorithmsatrun-time,thuscreating unique,individually experiencedand nection with film, digital animation can be both played back non-linearly and gener mitted andenactedbyacharacterthrough binarycode.Freed from itsinherent con frame-by-frame activity. Informationaboutmovement can becreated, stored, trans technology. andthegrowthists whoexperimentedwithmarkingfilminliveperformances ofVJ practice suchaslightorgans, lightningsketchacts,expandedcinemaart Victorian nomenon enabledbydigitaltechnology, itdrawsfrom arichgenealogyofhistorical Although thelivegenerationofspontaneousimagerymayappeartobeanewphe triggered CGIdancerwhowasprojected theactionsofavirtual, ontoabackdrop. in whichamusiciananddancerwore devicestomeasure theirmovements,which from Thiscanbeseenindanceprojects humanperformers. suchas puter programmes thatcanmeasure, analyseandinstantlyreact tolive,datastreams Through examplesofcontemporarypractice,Ihavedemonstratedthatdespite the theadventofdigitaltechnology,With animationcannolongerbeseenasapurely 3.6 Conclusion Quartet (2007) 128 - - - - - 4. Reception: The performative viewer I 4.1 Introduction viewer 4. Reception:Theperformative study of tion as key components of ‘liveness’ in the previous chapter, I will present a case entails. Followingonfrommyconsiderationofaudienceproximityandparticipa with her. would beunderstoodbyagroupofparticipantswhowereinvitedtoconverse of characterthroughanexaminationhowanonsensical,animated findings ofaninstallationlaboratoryinwhichIhavetestedouttheperception a casestudyof that itistheviewerwhocompletesorevenperformscharacter.Finally,in and actionsoftheviewer.Iwillthenreviewtheoreticalperspectivesthatargue animated creature are explicitly generated in real time through the participation ry constructed-actordepictedinananimationandtheactofdecodingthatthis n thischapter,Iwillconsidermorecloselytheviewer’sreceptionofilluso Becoming Starfish Lunch withMissSmith(2010), (Genetic Moo,2006)inwhichthemovementsofan I willdescribeandanalysethe 4.1 Introduction 129 - - 4. Reception: The performative viewer I netic Moo,2006) 4.2 Choreographing theviewer:BecomingStarfish(Ge- their gesturesinalivesituation. of GeneticMoo a starfishcharactermoveindifferentwaysaccordingtotheinformationre the proximityandmotionsofparticipants.Thisinformationisthenusedtomake a camera based motion-trackingsystem basedonEyesWebisusedto analyse Figure 66.GeneticMoo, ated animation through sound or the movements of their bodies.In the work n thepreviouschapter,Ipresentedexamplesofliveperformerswhogener Interactive Actors in Virtual Worlds,” Interactive ActorsinVirtual Goldberg’s IMPROVsystem.cf.KenPerlinandAthomasGoldberg, “Improv: ASystemforScripting animated charactersthatappeartohavetheirownpersonalitiesandmoods canbeseeninPerlinand 2 which havebeenpresented atanumberofUKvenues,includingthe DeLaWarr Pavilion. Schauerman hasprimarilycollaboratedwithTimPickuponaseriesof interactivevideoinstallations, group2000 asafilmandperformance producing andfilms.Since2006, sound pieces, performances GeneticMooare agroup whowere ofartists establishedbyfilmmakerNicolaSchauermanin 1 Thisreceived aJohn Lansdown Award atEurographics forInteractive DigitalArt 2007. 3 Aside from computergames,anotherexampleofthelive,user-generationresponses in 1 , theaudiencethemselvesareusedtocreateanimationthrough BecomingStarfish, Computer Graphics 4.2 Choreographing theviewer 2 Intheirinstallation 2006.AudienceInteraction. 29,no.3(1996). Becoming Starfish (2006) 130 3 , - - 4. Reception: The performative viewer Figure 67.GeneticMoo, theStarfishcharacter, 2006. connection withanimationintermsofthecharactersthey create: Although theyhavenotdefinedtheirworkasanimation, theydomakeaconceptual to a responsefromthecreature. ceived. Thus, the participant must perform alongwiththe piece inorderto get ent processes to‘tryimbuelifeintosomethingstatic’ despite the factthat projects they have been engaged in involve a range of differ and promote itsworkasinteractivevideoinstallationratherthananimation.Thisis Nicola Schauerman’s background asafilmmakerhasledthegroup tocontextualise 2 1 be Like FaultyOptic,GeneticMooconsidertheirworkto animation.Althoughtheprojects thattheycreate involveanimatedcreatures, Ibid. Nicola SchauermanandTimPickup,interviewbyBirgitta Hosea,July9,2009. filling itwithwaterordropping it. working withexpandingorsquashingthings,wemayanimate usingahairdryer or may involveanimatingincode,thisPhotoshop where youare 4.2 Choreographing theviewer

2

involve 1

which: animationratherthan 131 - 4. Reception: The performative viewer Figure 68.TheStarfishcharacter’s rangeof states,2006. at timestheyare literallyre-animating deadmatter: During interview, theyconcedethattheirprocess couldbedescribedasanimation, history andvaluesystemstobeausefultermdescribetheirwork: However, Schauermanconsidersthetermanimation to betooloadedwithimplicit non-linear wayinwhichtheiranimationsare shown: One ofthereasons fitforwhatthey do isthe thattheterm‘animation’isnotaperfect 4 3 2 1 Ibid. Ibid. Ibid. Ibid. Frankenstein. Bringingthingstolife.Animatingthedead.Imeaninfactwith a hairdryer togetthetexture oftripetoflutter. have gotherworkinggenuinelywithdeadflesh....Oneofthejobswehadwastouse pixels movingaround. Soweare tryingtobringsomethinglife. look atthemandthinkthatthere issomethingaliveaboutthembeyondjustcodeand There wayinwhichweare isanotherimportant animatorsand...thatispeople am doinganimation,Ibelievethatintheirheadtheywillinterpret way. itinacertain andthatI have anunderstandingofwhatIamdoing.Soifsaydoingastarfish Maybe myreticence isbecauseIfeelitcomeswithbaggageandthatpeoplewillthen wonder whyitisthatIneverdescribetheworkasanimationwhenI’mpromoting it... working withanimationsoftware.effectively Itintriguesme…becauseIthought there’s atremendous amountofanimationtechniquesinthere. We’re usingFlashso I usethetermanimationtodescribeprocess because,justas you’veobserved, up certain framesandsay,up certain ‘OKnowplayfrom thatframetoframe’. ... theyare discrete animations;complete;thingsonacycle. Theninthecodewecall 4.2 Choreographing theviewer 2 1

4 Mother 132 we 3 4. Reception: The performative viewer Figure 2006. 70.GeneticMoo,BecomingStarfishinteractionflowchart, Figure 69.GeneticMoo, BecomingStarfishtechnicalset-up,2006. 4.2 Choreographing theviewer

133 4. Reception: The performative viewer generation raisedoncomputergames: term ‘interactive’alsocomeswithitsownexpectationsand‘baggage’from anew for. They advocateexperimentationandtousethesoftware inwaysthatitwasn’tintended rather thanthetotalityofwork: Genetic Mooperceive ofwhattheycreate animationasdescribingconstituentparts certain freedomcertain andhuman-likequalitytheycanthenchoreograph: work ondifferent techniquestomakesure thatthemovementstheycreate havea ception isthatanimationproduced withitwillbejerkyorpuppet-like.GeneticMoo Aside from notions of the ‘look’of work produced in Flash, another common miscon them toexpectationsofcomplextechnologicalgameplay thatdetractsfrom aserious If theviewerbringstheirexperienceofcommercial itleads gamingtointeractiveart, it hasontheworkproduced: 4 3 2 1 Ultimately, theuseofanylabelcanbeconstrictive.GeneticMooargue thatthe Another issue is with the software used to create that the animation and the effect Ibid. Ibid. Ibid. Ibid. ... I meanessentiallyit that peopleconnectwithlive.Itmaybethewaysomethingwobbles... What I’dliketothinkabouttheworkisthatthere is...somethingaboutthemovement bring their game playing or Wii remotebring theirgameplayingorWii experiencetoit. isinteractive.Thenpeople that itwouldbequiteawfulhavingasignsayingthisart tive. Itdidn’tsayanything.Nothing.justhadournamesonit...weboth...decided dropped intoawider, possiblyeverchanging,framework. somebody orwecanhavefiveofthemappearatonce...theselittlesequencesare different bitstogetheranywaywewant.We canchoreograph themtointeract with idea ofset,hard, graphicanimation. Flash aestheticbuiltintoit–somethingweare tryingtoavoid,getawayfrom, the The predominant ofthe useofFlashisforbannersandthingslikethat,soitgetspart in ourmostrecent show, wehadnolabels.Itdidn’tsaydigital.interac- is animation,butit’s justbitsofanimationandwecanputthe 4.2 Choreographing theviewer 2 4 1 3 134 - 4. Reception: The performative viewer audience? Thisreciprocal, orperhapspalindromic, relationship canbeseeninthe question remains: doestheaudienceanimateworkor the form along with the piece in order to get a response from the creature. The intriguing within amore intimate,darkspace.Inbothinstances,theviewermustphysically per public andobservedbyothersaswellprojects inwhichtheexperienceiscontained Genetic Moohaveexperimentedwithprojects inwhichtheviewer’s reaction becomes a keyfactorinthework: character ledandinvolvescreatures. Howtheviewerresponds tothepiecebecomes or creating interactionthatisclichédorabstract.Theyaimtocreate workthatis could berealised. ground asacommercial webprogrammer andalgorithmicsculptor, theseambitions than sedentaryandpassive.Sherecalls: to wantcreate filmsthatwere non-linearandtogettheaudienceinvolved,rather of tutorswhohadbeenattheLondonFilmMakersCoopin‘70s.Thisbrought her during herundergraduate studiesinfilmthatSchauermancameundertheinfluence had both studied MAs in Electronic at differentThe two artists times, but it was Arts to workingwithinteractivewhiteboards atschoolandplayinggameshome. observable in a young audience used consideration of the content. This is particularly dictability’ Another motivationforcreating interactiveworkwas‘changeandpotentialforunpre 2 1 One of Genetic Moo’s guiding principles is to avoid being led by the technology Genetic Moo’s interactiveworkisinformedbyadesire foractivespectatorship. Ibid. Ibid. they’re shyorwhethertheyjumparound. Thatbecomesthepointofinterest. piece. It’s notabouttheactualpiece.It’s aboutthispersoninfront ofit.Whether An interactivepieceessentiallybecomesaboutlookingatsomeonedealingwiththe audience isalwayssittingdown. can changeandtheaudiencemightdeterminewhathappens....itisabitboringif and notanend,butsomethingthatcouldchange....Thatwasthenon-linearissue–it I definitelywantedtodonon-linearfilmmaking-asinnotabeginning,middle

in the artwork. Workingin theartwork. incollaborationwithTimPickup, who hasaback 4.2 Choreographing theviewer 1 2

135 - - - 4. Reception: The performative viewer loops: and canoperateautonomouslythrough defaultingtoacontinuouscycleofanimated Genetic Moo’s projects are not,however, dependentonanaudiencetoactivatethem event, suchasaprivateviewor‘happening’ofsomekind: However, the most focussed audience interaction occurs in the context of a unique reaction ofaudiencememberstothework: Figures 71&72.GeneticMoo, myself, whowere taughtbyexperimentalfilmmakersinvolvedinexpandedcinemaor 3 2 1 Genetic Mooare contemporaryto anexampleofagenerationdigitalartists, Ibid. Ibid. Ibid. There wasevensomeonewhodidn’tknowthe loved it,eventhoughtheydidn’tdoanythingwithit.Theyjustwatched. legs andarmsakimbo. With the With whereas spaceitjustchurnsawayonitsown... inanart typeofshow,I thinkphysicalhumaninteractionworkswellatanevent,onone-off to make the starfish do something and then starting tocopythe dosomethingandthenstarting to makethestarfish Starfish ... people got into this ‘push me pull me’ sort ofsituation:wanting ... peoplegotintothis‘pushmepullme’sort Becoming Starfish, 1 4.2 Choreographing theviewer 2006.AudienceInteraction. Starfish wasinteractiveandtotally 3 Starfish 2 intermsof 136 4. Reception: The performative viewer Miss Smith coming Starfish explicitly positionedasanimationnorfilminteractiveart. that usesanimatedcharacters,animationtechniquesandtechnology, butisneither structural film.GeneticMoo’s workdemonstratesapost-mediuminstallationpractice interactive work, in which the viewer is called upon to actively perform, interactive work,inwhichthevieweriscalledupontoactivelyperform, ship betweentheviewerandwork.Thiswillbefollowedbyacasestudyofanother review aselectionofkeyliterature that addresses thereciprocal nature oftherelation propose Inthenextsection,Iwill theviewerascognitiveauthorofperformance. ments isdirect andactual.Thisinteractionmakesmanifesttheoretical positionsthat choreographed bythework.Thecontributionofaudiencetocharacter’s move ticipant whotriggersmovementinaninanimatecharacterandisturnphysically to create from aperformance theanimatedcharacter. Theviewerbecomesapar Rejecting the ideology of the passive spectator, Genetic Moo’s installation (2010). is an interactive artwork inwhichembodied interactionisrequiredis aninteractiveartwork 4.2 Choreographing theviewer Lunch with 137 Be- - - - 4. Reception: The performative viewer T square has at abstractsquares, whichlackaphysicalform,theviewerconcludesthatfirst touches theothersquare. Thesecondsquare isthenseentomove.Despitelooking is givenoftwosmall,animatedsquares. Onesquare movesacross thescreen and of FaultyOpticbelievesthatitistheviewerwhogiveslifetocharacter: to her experience of creating bothpuppetsandanimated characters, LizWalker object thatneverexistedinthewayitisdepicteditsanimatedform.Referring 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative ‘happen’ quiteautomatically.’ recognizing physicalcausalityinsuchsituationsseemsphenomenologicallyjustto the squares above,theyargue that:‘Likerecognizing speechorrecognizing aface, of theirperception. Referringtosimple‘launching’motions,suchastheexampleof ond square isperceived andnotinferred orprojected bytheviewerontoobject Scholl andPatriceTremoulet’s review ofstudiesinperceptual animacy process inwhichcausalityisascribedtomovingforms,howeverabstract.InBrian of afictionalcharacterhasbeenverifiedbythepsychologicalstudyanimacy: The argument thattheviewerreads intentionalityandmotivationfrom theactions of Figure 73.Birgitta Hosea,illustrationofSchollandTremoulet’s ‘Launching’motion,2011. impact 3 2 1 Sciences tity thatdoesnotexistintheprofilmic,‘realworld’.Itisaconceptualmeta- he performance of the animated body represents the movements of an en Ibid., 306. Brian J.SchollandPatriceD.Tremoulet, “Perceptual CausalityandAnimacy,” Walker, interview. able todothataswell. to inanimateobjectsandIthinkthatitissomethinggivesusreal pleasure inbeing moment theyseemtobereal. Ithinkthatwehaveallgotinnateabilitytogivelife toys whenyouare akidandyougothrough variousscenarioswiththemandforthat I thinkthatwemustallhavethisinbuiltneedforpretence. It’s likewhenyouplaywith . SchollandTremoulet thatcausalitybehindthemovementofsec assert 4,no.8(2000):299-309. hit thesecondoneandthatsquare movesasaconsequence 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative 1 3 Ka Nin Chow qualifies particular typesofmotionsthat KaNinChowqualifiesparticular Trends inCognitive 2 , theexample 138 - - 4. Reception: The performative viewer can beseentorepresent asfollows: ‘liveliness’in‘multimediaartefacts’ Phenomenology ofPerception, motion. they haveexaminedtheminimumamountofinformationneededtoidentifyhuman human movement. ‘female’, ‘happy’vs.‘sad’,‘nervous’‘relaxed’. forms ofmovementtowhichtheviewerascribeslearnedmeaningsuchas‘male’vs. their movement – direction, velocity, acceleration and deceleration - creates different to eachothergivesinformationaboutthekinematicsoffigure. Thedynamicsof scious cluesaboutposture andthewayinwhichdotsare positionedinrelation nothing tocompare themwithandwouldnotbeabletounderstandthem. experience inorder tomakesenseofthem.Iftheywere totallynew, wewouldhave Thesealsorelyas SusanBennettasserts. uponourpriorknowledge andprevious that iscollectivelyunderstood.Thiseventhecaseforradical,avant-garde texts, tural codes that we have learned and can share with others because they have a basis make senseoftheworldoutsideourownbodies,through language,visualandcul compare toourprevious embodiedexperienceofmovement. perception ofacharacterisinformedbynon-verbalcues,whichwesubconsciously Pollick etal.,“Perceiving From Affect ArmMovement,” isperceivedhow affect from thearmmovementsofknockinganddrinkingactionsseeFrankE. 3 Conference, Manchester, 2008). 2 Animation,” 7. 1 5 4 York: Routledge,2005),49. In theEyesWeb expressive gesture analysisresearch attheUniversityofGenova, This actofdecodingnon-verbalsignsishistoricallyandculturallyspecific.We For anotherstudyinwhichpoint-lightsare usedtodelineatethemovementofjointsandmeasure Donald Glowinsky, “KeynoteSpeech”(paperpresented attheMoves08:MovementonScreen Chow, “AnEmbodiedCognitionApproach totheAnalysisandDesignofGenerativeInteractive Susan Bennett, Glowinsky, “KeynoteSpeech.” producing divergent outcomessubjecttochanceorintervention(contingency). (autonomy), evolvingoveraperiodoftime(generativityormetamorphosis),even showing reactions tostimuli(reactivity), transformingaccording totheirinternalrules 2 Onestudyconcludedthatonlytwelvedotsare necessaryforustorecognise 3 Theatre Audiences:ATheoryofProduction andReception Theangleatwhichthedotsare placedgivestheviewersubcon 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative Maurice Merleau-Pontyargues thatitisourprior, lived, Cognition 4 Thisresearch confirmsthatour , no.82(2001):B51-B61. , 2nded.(London;New 5 In 1 139 The - - 4. Reception: The performative viewer of bodiesthatweseetoourownpersonal,livedexperiencemovement: sion ofdisbelief. has notbeendirectly experiencedandhasbeenacceptedthrough anapriorisuspen experience; whereas animationisnoumenal:itshowsaworldoftheimaginationthat and photoreal locations, is experienced as phenomenal and relates to our previous being never lived. Suzanne Buchan argues that film, with its use of human actors the mentalorphysicalstimulithattriggered them. though itisafictionalsituation,weascribecausallinkbetweentheirmovementsand andtypesofmovements.Even physicalappearance,vocalperformance particular gesture. ofacharacterrole Theportrayal isachievedthrough theassumptionofa wereadWhen wewatchanactorperform, thecharacter’s intentionalitythrough their to decodethe‘illusionofintentionandmotivation’ are watchingananimatedcharacterratherthanahumanactor, butwehavelearned sensual experiencethatisthesource ofallknowledge. abilities asregular perception.’ actual phenomena,thus‘perceptual imaginationisunderstoodtoemploythesame same sensorimotorprocesses are usedtodecodebothfictionalrepresentations and Richard Baileypresent thatthe examplesofstudies incognitivescienceandassert a humanoidfigure inmotion.Intheirworkontheatricalpresence, RoyConnollyand into perceptual animacy demonstrates that only minimal clues are needed to perceive cinematic conventions and we project this back onto the character. Indeed, research ence.” StudiesinTheatre 30,no.2(2010):214. andPerformance RoyConnolly, andRichard Ralley. “SomethingRealisNeeded:ConstructingandDismantlingPres- 5 4 Worlds SuzanneBuchan,“TheAnimatedSpectator:Watching theQuayBrothers’ Worlds,” in 3 2 1 An actorhasarecognisably humanbodythatiseasytorelate to,butananimated Ivins-Hulley, inStopAnimation,”3. “TheOntologyofPerformance Ibid., 75. Merleau-Ponty, except insofarasIamabodywhichrisestowards theworld. I cannotunderstandthefunctionoflivingbodyexceptbyenactingitmyself,and , ed.SuzanneBuchan(Eastleigh:JohnLibbey, 2006),16. 3 LauraIvins-Huleycontinuesthatthevieweriswellaware thatthey Phenomenology ofPerception 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative 5 From thistheyconcludethat,‘Illusionandreality are , 23-5. 4 behind particular movementsand behind particular 1 We compare themovements 2 Animated 140 - 4. Reception: The performative viewer not acontradiction,becausereality isnotintheobjectbutourinvolvementwithit.’ shows awomanseatedaloneinroom, toconsiderthisproposition. Hogarth’s of Sarah Malcolm, which self. Burns uses the example of William portrait In otherwords, thatwhichisseenonstageorscreen aprojection ispartially ofthe experience; tocompare withwhatshealready whatisseenperformed knows: required through toevaluatethecharacterbeingportrayed thelensofherownlived that in order to feel these emotions of fear, pity or moral superiority, the viewer is Being onthePre-Modern Stage, acter provokes empathyintheaudienceaswellstrong emotionsof‘fearandpity’. tation ofinferiorpeople”,indeed‘thelaughableisaspecieswhatdisgraceful’. or empathy. In his riences byproxy whatthecharacterexperiencesthrough aprocess ofidentification fully engageswithit. was manufactured andneverlived.Itisconstitutedinthemindofbeholderwho the othershavea‘real’ body, ineithercase,acharacterisfictionalconstructthat or an actor on film. Although one is based on an illusory body and as a live performer Consequently, ananimatedcharacterhasthesamepotential forperceived presence ‘pleasurable relief’ These feelingspurge thespectatorofexcessemotionsand,thus,engenderastate that reinforces themoralcodesofspectator. Inhisbook, Therefore, inAristotelianterms,comedycanbeseenasanencounterwiththetaboo 3 6 2 Ibid,215. 1 5 4 In classicnarrativetexts–ofliterature, theatre, animation or film,theviewerexpe This phraseistakenfrom Aristotle’s Ibid., 2. Aristotle, Burns, Ibid., 9. classify ourselveswiththem;akindofannulmentdifference takesplace… we feelforothers.Forfeartobeevokedbyacharacter’s situationwemustbeableto …we fearthesituationsofthoselike(homoios)ourselves.Pity, byextension,iswhat Character ActingandBeingonthePre-Modern Stage Poetics 3 Poetics, orkatharsis.Comedy, ontheotherhand,Aristotlesawasan“imi , trans.HeathMalcolm(London:Penguin,1996),10. 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative

Aristotle argued that identification with an ‘admirable’ char Edwards Burnsargues thattheimplicationofthisis Politics ascitedintheintroduction toIbid.,xxxviii. , 23. Character Actingand 6 Adeadwoman 5

141 1 2 4 - - -

4. Reception: The performative viewer unity liesnotinitsoriginbutdestination’. quotations thatmakeupawritingare inscribedwithoutanyofthembeinglost;atext’s reading, ‘Thereader nottheactofwriting.ForBarthes: isthespaceonwhichall The reader completesthework.Inthisapproach literature isdefinedbytheactof in ahistoricalpainting,sheisunknowable.Burnsposesthequestion– but polysemic character thatweread inher? tial, determiningfactorofbeing,butahistorical‘modeperception anddiscourse’. between twohumansubjects.’ of characterasaprocess ofseeing,andaprocess ofbeing seen,asatransaction the viewer, herself:‘adoublearticulation but aspaceintowhichtheviewercaninsert bution from thebeholder. SotheunknowabilityofSarahMalcolmisnotahindranceto play, ourinterpretation ofacharacterisnotfixedbytheauthor, butrelies onacontri poses thatduringtheprocess oflookingatapainting,reading anovelorwatching for killingheremployers,doesthischangewhatwehadthoughtofher?Burnspro ing conditionsthatsheissittingin?Whenwelearnamurderess notorious appearance? Do we get clues about her from the room she ispictured in or thelight ‘child’ oftheauthor, butasaprocess. Meaningiscreated duringtheactofreading: death oftheauthor, argues inwhichBarthes thatthetextcannotbethoughtofas This perspective has echoes of Roland Barthes’s famous declaration in 1968 of the 6 5 New York: Routledge,1990),211. 4 3 2 1 cf. KimSchrøderetal., Ibid., 212-3. “TheDeathoftheAuthor,”Roland Barthes, in Ibid., 4. Ibid. Ibid. performative...’ say); rather, itdesignatesexactlywhatlinguists,referring toOxford philosophycalla operation ofrecording, notation,representation, ‘depiction’(astheclassicswould ten ...there isnoothertimethanthatoftheenunciationandeverytextexternallywrit- here andnow 6 withmultipleinterpretations ofitbydifferent readers possible. 4 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative . Thefactis(or, itfollows)that Researching Audiences 1 2 Isitinherphysiognomy?Dowecategoriseby Burnsgoesontoargue thatcharacterisnotanessen Theories ofAuthorship (London:Arnold,2003),130. 5 Themeaningofthetextisnotfixed, writing cannolongerdesignatean , ed.JohnCaughie(London; where isthe 142 3 - - - -

4. Reception: The performative viewer The viewer projects her own memories, lived experiences and fantasies onto the film brought tolifebyhisactionandwhichheinturnwasmentallymovedby: describesasanimationhisexperienceofviewingaphotographthatwas Barthes object oftheirsensing: the actofperception itselfisoneofexchange betweenthehumansubjectand sensed isinfluencedbythephenomenologicalphilosophyofMerleau-Ponty. Forhim, process ofouridentificationwiththecharactersonscreen isperformative. and analysinghowtheviewercontributestomeaning, Sobchack contendsthatthe viewed thattakesplacewhenwatchingafilm.RelatingMerleau-Ponty’s theoriestofilm SobchackexaminestheprocessFilm theoristVivian ofexchangebetweenviewerand process ofexchangebringstomindapassagefrom act ofperception through thefilteroftheirownembodiedexperience.Thisreciprocal sciousness ‘beckons’totheviewerandmakessenseofthisduring In theseterms,acharacter, orotherstimulus,thatis externaltotheviewer’s con experiencing thediegeticworldoffilm: presented as direct experience and structures the viewer asifthey were personally 3 Ibid.,10. 4 2 1 The notionthatmeaningisactivelydecodedinadialoguebetweensensorand Sobchack, Barthes, Barthes, Merleau-Ponty, body synchronizes withit,thesensibleisnothingbutavaguebeckoning. significance ontheother. from Apart theprobing ofmyeyeorhand,andbefore my theaction,orthatoneconfers cannot beheldthatoneactswhiletheothersuffers softness, andinthistransactionbetweenthesubjectofsensationsensibleit object’s withcolour, form,orrathermygaze pairsoff andmyhandwithhardness and my gazewhichsubtendscolour, andthemovementofmyhandwhichsubtends exclusive terms,andsensationisnotaninvasionofthesensorbysensible.It The sensorandthesensibledonotstandinrelation toeachotherastwomutually that ishowImustnametheattractionwhichmakesitexist:ananimation. …suddenly aspecificphotographreaches me:itanimatesme,andIanimate it.So as welltheheard, andfeelthemovementaswellmoved. diation… Watching afilm,wecanseetheseeingaswell astheseen,hearhearing Watching afilmisbothdirect andmediatedexperienceofdirect experienceasme- Camera Lucida The Address ofTheEye:APhenomenologyFilmExperience Phenomenology ofPerception 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative , 142. , 214. Camera Lucida , 10-11. 4

, inwhichRoland 1 2

3 Afilmis 143 - 4. Reception: The performative viewer An exampleofthiscamefrom feedbackfrom onespectatorofmy and performs itintobeing. and performs Dark case study of a transaction between viewer and character. In the following section, I will present a the creation ofthecharacter, whereas Merleau-PontyandBurnsargue thatthere is character. andSobchackargue Barthes vieweriscentralto thattheperformative of viewing involve comparison with prior lived experience to decode clues about the by humanactorsintheatre orfilm.Thecognitiveprocesses atworkintheexperience life inthemindofviewer. Thiscanalsobesaidoffictionalcharactersportrayed had extendedthehybridcharacterthatIcreated withmemoriesofherown. childhood memoryforheroffrighteningcarjourneysinthedarkwithmother. She animated character, thework. theextenttowhichviewerperforms the audienceinapositionwhichitcanhavedirect phenomenalexperienceofan 1 In conclusion,theanimatedcharacterisaconceptualconstructthatbrought to performance attheBFI,whorevealedperformance thattheworkhadtriggered avisceral, Ibid., 10-11. from, yetincludedin,ourown. distinguishable wewatchthemasavisibleperformance own existentialperformance; byappropriatingwe takeupandinvisiblyperform andincorporatingthemintoour coterminously giventousasthefilm,mediatingactsofperception-cum-expression directly forandasourselvesinrelation tothefilmbefore us,butthesesameactsare theexistentialacts As viewers,notonlydowespontaneouslyandinvisiblyperform Lunch with Miss Smith 4.3 Theorising the performative viewer 4.3 Theorisingtheperformative 1 in which I examined through practice, by placing Out There inthe 144 4. Reception: The performative viewer T of where the locus of the character is. setting ofapublicaudience.MyexperimentaimedtoanswerEdward Burns’s question perceived inthecontextofanindividualactspectatorship,ratherthansocial Suzanne Buchaninherwritingon which itisfamiliar,beyondtheextra-dailytoextramundane,developedby 4.4 The performative viewerinpractice: 4.4 Theperformative Smith interactive artwork was createdinteractive artwork as a ‘laboratory’ tion andexperiencesontoacharacterinorder tomakesenseofit.Intheproject, an role, I testout the proposition that aviewer projects something of her own imagina were a worldinwhichparticipants asked toperform of interactionwithacartoon constructandneverlivedwouldbeperceived.artificial Through creating ascenario experience andthenoumenalworldofcartoon. domestic interiorinwhichthelinescouldbeblurred betweenthereal worldoflived reception ofananimatedcharacter. Thelocationusedfortheinstallationwasareal Quay: In Lunch withMissSmith Design Helsinki,” University ofHelsinki.cf.MauriKaipainen,“Practice-basedResearch and attheUniversityofArt 3 linear) scriptisin 202. Acharacterprofile ofMissSmithcanbefoundin Fordocumentationoftheproject, see 2 Buchan,“TheAnimatedSpectator:Watching theQuayBrothers’ Worlds”, 16. 1 4 The aimbehind that goesbeyondthelimitsofhumanbodyandexperienceswith he ideaofanimationasaspacewherethevieweristransportedtoworld The modelofusinganinteractivemedialabaslaboratorywasinspired byresearch atthe cf. Burns, trapped inourownimaginations. enal worldandthenoumenal,orsupersensible,‘documentation’ofwhatisintimately enter interiorrealms ofthemetaphysical.There isadiscrepancy betweenthephenom They are fleetingyetremarkable instantsoffilm,whichtranscendlivedexperienceand (Birgitta Hosea,2010) Character ActingandBeingonthePre-Modern Stage AppendixII.B Digital Creativity Lunch withMissSmith 4.4 The performative viewerinpractice 4.4 Theperformative (2010) on page247. 15,no.1(2004):8-9. 2 , Iexaminehowananimatedcharacterthatis 1 DVD Chapter5 Street ofCrocodiles 4 I wanted to examine whether people would was to examine how a cartoon character is wastoexaminehowacartoon Appendix II.A 3 and in which to carry out a study of the Plates 23-35 onpage244andthe(non- , 2. (1986)bytheBrothers Lunch withMiss on page191to 145 - - 4. Reception: The performative viewer attempt tomeasure whatwasprojected ontoher. Iwantedtofindoutwhether: they wouldmakesenseofher;howmuchthisvarybetweenindividualsandto characterthatwasnonsensical;how temporarily believeinthefictionofacartoon recall andsemi-structured interviews.Thisenabledmetoobservetheirfacesand group interactingwith thecharacterofMissSmith,whichwasfollowedbyvideo-cued work. Ididnotreveal howtheinteractionwould ence foreachparticipant. totheparticipant andwhetheritwould bepossibletocreatewith activeparticipation auniqueexperi In addition,Iwantedtoexplore technicallythecreation ofliveanimatedperformance description oftheresearch thatIincludedinmyinvitation: character, to haveaconversationwithcartoon portunity ascanbeseenfrom this Ipresentedaims inadvance,somyinvitationtoparticipate theeventasanop would notposeadistraction.Ididwanttoinfluencemyoutcomesbystatingthe everyday scenario from quotidian social discourseinwhich a narrativeorstoryarch refuse toengagewiththefictionofananimatedcharacter. My assumptionwasB.Ialsoassumedthatapercentage would oftheparticipants or animated character. Iamusingtheterm‘animator’here forthecreative asshorthand teambehindthecreation ofan 1 In order toanswertheresearch questions, Imadevideorecordings ofasample As myprimaryinterest wastoanalysetheperception ofcharacter, Icreated an 1. 2. thought of the cartoon character.thought ofthecartoon videoed. Afterwards youwillbeaskedsomequestionsoncameraaboutwhat to havelunchtogether. You willbealoneinaroom with‘Miss Smith’.Thiswillallbe character,cartoon ‘MissSmith’,for about15minutes.Itwillbeasifyouwere about You willbeinvitedtoBirgitta Hosea’s flattohaveaconversationwithaninteractive Proposition A:thecharacterisdeterminedbyanimator ment withher. Proposition B:thecharacterisproduced bytheparticipant’s actofengage ated; 4.4 The performative viewerinpractice 4.4 Theperformative 1 whenitiscre 146 - - - - 4. Reception: The performative viewer rationalisation of their participation ininterviewafterwards.rationalisation oftheirparticipation body languageduringtheactofinteractioninadditiontorecording apost-experiential responses. adjoining room, where IwasabletoseeandhearalivevideofeedoftheVisitors’ to respond as if this were the case. The animation was operated by myself from an whowasnowstructuredtion withtheparticipant, intherole andinvited ofherVisitor of theroom. the tableremained empty. Acameraonatripodrecorded thescenefrom thecorner the televisionsetwasusedasbackground fortheanimation.Two otherchairsat intherealof viewbeneaththetable.Aphotographsamecurtains room behind character wasalsoseatedatthetableandthatremainder ofherbodywasout character.shoulders andupperbodyofacartoon Thisproduced theillusionthat onwhichwereset wassituatedateyeleveltotheparticipant, displayedthehead, herself inorder togoandfetchMissSmith.Ontheothersideoftableatelevision drawing ofplacesettingsandrefreshments onthewhitetablecloth. White paperflowersstoodonthetable,whichfeatured atwo-dimensional,stylised chairs andatablelaidwithplacesforfour. Theroom waspaintedcompletelywhite. room), whichwasdressed asadiningroom anddevoidoffurniture from apart lamps, fore beingledintoan adjoiningroom. Theeventtookplaceinaroom (normallyaliving incharacterastheLandlady,by theartist askedtoremove theircoatsandshoesbe installation/laboratory and not a realart invitation to eat. On arrival they were greeted individual timestolunchwithMissSmith,buttheywere madeaware thatthiswasan Hackney byappointmentoveratwo-weekperiod. 2 See 1 See 3 See the character. Lunch withMissSmith The animatedcharacterofMissSmiththenattemptedtomakepoliteconversa seatandthenexcused tositinaparticular The Landladyinvitedtheparticipant Plates 26-28 Plates 24-5 Plate 23 3 The character was controlled in whichaseriesof by a Flash interface onpage191foraground planoftheinstallation. 4.4 The performative viewerinpractice 4.4 Theperformative on page192forphotographsoftheroom set-up. onpage193to81forbehindthescenesviewsofoperation of wassite-specificandtookplaceintheartist’s homein 1 The participants were Theparticipants invitedat 2 147 - - 4. Reception: The performative viewer through theanimationinalivesituation.Inorder todevelopthecharacterandsce I decidedtocreate a keyboard-controlled byproxy charactersothatIcouldperform clues inorder todesign herappearanceandmotivatedialoguemovements. ‘neutral’ maskisnotneutral,justwhiteandexpressionless. Ihadtogivemyselfsome motion detectionorthevolumelevelofguest’s voice.However, onreflection a totally randomwithpausesorrandomlytriggered byeithercamera-based the charactertobecompletelynonsensicalandspeakdialoguethatwaseither measure whatwasprojected ontoher. Inspired bytheTheatre oftheAbsurd, Iwanted was tocreate aminimalcharacterlikeneutralmaskorblank canvas sothatIcould could passTuring’s intelligence. testforautonomous,artificial of socialinteraction.ShewasnotdesignedasaChatterbotorreplicant humanthat being thattheviewerwouldhavetoactivelyworkmakesenseofduringascenario ventional story. The aim behind the character was to create an absurd and illogical use, wouldshebeoperatedliveorusergenerated. as: whatherappearancewouldbelike,howshemove,whosevoice that documents the creative intention behind the character as I made choices such be reviewed andcommentedon. screen drawingprogramme. Thesewere collatedinamobile-blog,where theycould research photographs,conceptualsketchesanddrawingsfrom lifeusingatouch- mobile phone as asketchbook. It involvedthecreation such as ofdigitalartefacts, over aperiodoffourmonths.Thisprocess wasdocumentedthrough the use ofa according totheoperator’s response totheirreactions. had auniqueexperiencebecausethesamesetofclipswasplayedindifferent order animated clipscouldbepausedorplayedbackthrough keyboard control. EachVisitor 2 Cf. 1 See Installation Unlike most cartoon characters,MissSmithwasnotcreated ofacon Unlike mostcartoon tobepart The concept,characterdesignandscriptdevelopmentofthisproject tookplace Dixon, Plate 29 , 491-4. Digital Performance: AHistoryofNewMediainTheater, and Digital Performance: Art, Dance,Performance onpage96forsamplesoftouch-screen drawing characterdevelopmentwork. 4.4 The performative viewerinpractice 4.4 Theperformative 1 Thiswasdoneinorder tohaveabodyofmaterial 2 Initially, theintention 148 - - 4. Reception: The performative viewer California. While at USC, a short clipofMiss Smithwasusedin California. WhileatUSC,ashort ing tookplaceoverfivemonths,includingaresidency attheUniversityofSouthern ‘boil’ inamannerspecifictodrawnanimation. Sheisanimatedinalimitedstyle,displayssimpleactingandherlines natural cartoon. I created Gallery. fortheCinematicArts nario, IadaptedUtaHagen’s actingtechniques,usedbyactorstodeveloparole. ‘70s ITVsitcom by BobGodfrey andthecharacterofMissJonesplayedbyFrancesdelaTour inthe style. Leigh’s play gradients. InspirationsbehindherdesignincludedthetelevisionadaptationofMike small eyes.Sheisdrawninmonochrome linesonly, withouttheuseofcoloursor convention, neither cute nor young nor beautiful with very and, in defiance of cartoon I wouldlaterposetheparticipants. the act of doing housework. As I created the character, I answered the questions that thought ofwhatthecharacterwoulddotoprepare fortheirvisitanddrew myselfin dressed upasthecharacter, andinhabitedher. 4 2 See Sons, 2008). 1 cf. 3 her gueststoarrive. 200 fortouch-screen sketchesoftheactionsIimaginedMissSmithtobedoingassheprepared for 4 See 6 See mouth shapes.Shemovesquicklyintoaposeandthenmore slowlyout. whole bodyforward orjustherhead.Herbody risesandfallsasshetalkshasrangeof it. Shecanraisehereyebrows, flare hereyes,blinkandtiltheadcoquettishly. Shecanleanher turning inthedirection ofthedoorandnodding.Shecan movetowards thescreen andawayfrom Herrepertoire ofmovementsincludes:dramatic gesticulationwithherhands,lookingdown, 5 The formofanimationIusedwasunrealistic sothatthecharacterisclearlyanun The finalcharacterdesignwascreated inagritty, two-dimensional,hand-drawn for videodocumentation. 4 cf. UtaHagenandDavidHydePierce, She is deliberately artificial: unrealistic She is deliberately artificial: and stylised in design and execution Appendix II.A Plate 32 Plate 34 Plates 30-31 Abigail’s Party onpage199forphotographsofdressing upasMissSmithand onpage109forpictures ofMissSmithinthe Chatter installationand Rising Damp onpage244. 4.4 The performative viewerinpractice 4.4 Theperformative onpage96to101forthefinalcharacterdesigndrawings. (1977);the‘70sanimatedTVseries . 3 Respect forActing 6 Inspired bytheMissSmithproject, Iinvited 5 Theanimationandinteractiveauthor 2 Forexample,Iinvitedguestsround, , Second. (New Jersey: John Wiley & , Second.(NewJersey:JohnWiley Chatter, Roobarb andCustard Plate 33 aninstallation DVD Chapter onpage 149 1 I - - 4. Reception: The performative viewer effect andtocoverthefollowingpredictedeffect requirements intheinteraction: ing basis:either(1)tofitinwiththegeneralscenarioor(2)atrandomforhumorous representative. Thetwelveparticipants 1961 edition of a classic Victorian cookery book 1961 edition of a classic Victorian phrases inmyproject were takenfrom eitheralanguagetextbookfrom 1946 combinations. indifferent took theformof48smallsectionsdialoguethatcouldbeperformed foundherselfandtogive thesituationabeginningandanend.Thescript Visitor the gallery. looped andeitherprojected ontothegallerywallordisplayedontelevisionsetswithin tion in which a character wouldmake meaningless conversation. These were then and students to recordstaff their own dialogue and to produce clips of anima short sco’s method of usingphrasesfrom English textbooks in with Mr and Mrs Smith 3 cf. 1 4 See 2 The study aimed for rich qualitative detail and does not purport tobestatistically The studyaimedforrichqualitativedetailanddoesnot purport A minimalstorylinewasdevelopedinorder tojustifythescenarioinwhich . Anending. 8. Timefillingmonologues; 7. Confrontational responses questions; todifficult 6. Anexcuseforanexitandsubsequentre-entry questions; incaseofdifficult 5. Agreement anddisagreement; 4. Listeningbehaviours; 3. 2. Welcome andconversationopener; 1. Isabella MaryBeeton, Laycock andAllwood, AppendixII.B Direct on‘polite’topicstoencourageher/himtalk; questionstotheVisitor Plate 35 1 Asinmyprevious project, inwhichherparents hasfeatured, onpage202foraphotographicoverviewofalltheVisitors. 4.4 The performative viewerinpractice 4.4 Theperformative on page247. , the approach to writing her dialogue was influenced by Ione Mrs. Beeton’s AllAboutCookery Idiomatic EnglishSentenceswithSwedishEquivalents 4 were selectedtorepresent adiversesample 3 (London:Ward Lock,1961). . They were selected on the follow The BaldPrimmadonna . At Home 2 orthe 150 . All - - - 4. Reception: The performative viewer basis ofavailability. of peopledifferent ages,gendersandfamiliaritywithdigitalmediaaswellonthe grounds were represented. The age range was 16-53 and different and eight cultural back women participated. case theywouldnotfeelconfidentto‘disagree’ withme. they wouldoverlyfocusontechnique.Noformerorcurrent studentswere chosen,in honest intheirresponses. Noprofessional animatorsoractorswere chosen,incase and sardine aswasnamedinthescript.Usingqualitativeresearch soufflé, methods was followedbyinformalchatanddebriefingoverrefreshments, butneverlemoncurd ter’s creation andtheinterpretation madeofthecharacter. thattheparticipants This became availableforacomparisontobemadebetweentheintentbehindcharac same questions were used in the development of the character sation. ner sothattheresponses wouldbespontaneousandpriortoreflection andrationali pants were askedopenlytorecall theirexperience in astream ofconsciousness man about theirexperience.Thisbeganwithavideo-cuedrecall interview, inwhichpartici was immediately interviewed character’, each participant ‘conversation with a cartoon provide evidence of facial reaction, body language and verbal response. Following the videoed. Thecamerawaspositionedtorecord MissSmith’s ‘pointofview’inorder to the characterthatwere adaptedfrom UtaHagen’s methodactingtechniques. 5 Danube UniversityofKrems, 2009),65. on PaulSermon’s Telematic forImageScience: Department (MAThesisMediaArtHistories, Vision” Paul Sermon.cf.RolfWolfensberger, “OntheCouch–CapturingAudienceExperience:ACaseStudy 4 space filledwithelectronic equipment. tocomemyhomeand(3)for myownpersonalsecuritywhenaloneinadomestic feel comfortable were allknownsociallytomeforthefollowingreasons: (1)easeofselection;(2)sothattheywould Priortocommencingthestudy, ethicalclearancewassoughtfrom UAL.Respondentsselected 3 FourBlack British,3English,1Scottish,German,French, 1CanadianandAustralian. 2 Thisresearch wasconductedinaccordance withtheUALCodeofPracticeonResearch Ethics. 1 cf. 6 During theprocess of interactionwiththecharacter, responses theVisitors’ were cf. HagenandPierce, This approach wasinformedbyRolfWolfensberger’s studyofuserinteractioninthework 4 Ithenaskedaseriesofsemi-structured questionsabouttheirimpressions of AppendixII.A onpage244. 1 4.4 The performative viewerinpractice 4.4 Theperformative Amixture ofintrovert andextrovert typeswaschosen.Fourmen Respect forActing 2 Iwasconfidentthatthepeoplepickedwouldbevery . 3

6 and therefore data 151 5 The - - - - - 4. Reception: The performative viewer responses. versation withher, eveniftheyfounditafrustratingprocess duetoherfinitestockof engagedbytalkingbackandtryingtohaveacon Even themostcynicalparticipant with thefictionalcharacterdespitefactthatshewasnotdesignedtomakesense. the character(Proposition B). hadprojectedsurmise thattheparticipants elementsoftheirownexperienceonto created bytheanimator(Proposition A).Iftheanswerswere alldifferent, Iwould acter were allverysimilar, Iwouldsurmisethatthecharacterisationwasprimarily the fiction?Whatkindofapersondidtheythinkshewas?Ifimpressions ofherchar how thecharacterofMissSmithwasperceived. Would engagewith theparticipants provided mewithrichdatatoanalyse. mirrored herbodylanguage. worried abouttheotherguestsnotarriving.Ialsoobservedthatsomeparticipants smiled whensheflattered themanddemonstratedadegree ofconcernwhenshe pened before 9replied, you,theguestarrived?’,Visitor person explicitlyreferred tomyrole in contrivingthesituation:whenasked,‘Whathap suspended theirdisbeliefandanswered asifthescenariowere plausible.Onlyone of the encounter was commented on, each person appeared tohave consciously she nodded. shefoundherselflookingherintheeyesandmirroringcartoon, herbehaviourwhen found the experience verysurreal, becauseeven though sheknewMiss Smith tobea examples ofbodymirroring. Fordetailssee 2 See tospeak. the participant and chosenamore appropriate cliptoplayback.Atothertimes,Icouldhavepausedlonger toallow interruptiing them.Analysingthevideo,Irealised thatattimesIcouldhavemadespeedierresponses intheotherroom,skills. AsIobservedthevideofeedofparticipants Ibecameacutelyaware of MyoperationofthecharacterwasalsoafactorinMissSmith’s sometimespoorconversational 1 When Ianalysedthevideorecordings, fullyinteracted Ifoundthateachparticipant The video recordings and interviews provided a method for collecting data about During the course of the semi-structured interviews, although the strangeness DVD Chapter5 1 Theyallmadeeyecontactwiththecharacter, answered herquestions, 4.4 The performative viewerinpractice 4.4 Theperformative for video documentation of participation. for videodocumentationofparticipation. 2 Visitor 9commentedafterwards Visitor thatinretrospect she DVD Contents onpage232. Chapters 5.1-5.4 ‘ Well, yousetthis up!’Some linkdirectly to 152 - - - 4. Reception: The performative viewer tween MissSmithandthemselves,theVisitor, tobe: Compare thefollowingresponses whenaskedwhattheythoughttherelationship be dialogue astheLandlady, ofamaid. assumedIhadplayedthepart fourparticipants the dialogue.Forexample,eventhoughartist’s presence was referred tointhe disregardedMany participants bits of information that were explicitly referred to in tone ofvoiceadoptedinthevoice-over. Thisview wasexclusivetoBritishparticipants. regarded heras‘snobbish’or‘fullofsocial aspiration’, probably due to theaccent and sions ofherage,estimateswhichrangedfrom late40sto70s.Fiveparticipants the character’s design-hairstyleandcostumewere explicitlyreferenced indiscus Grandmother andmyAunt! That’s really reminded cuesin me ofChristmas!’ Visual had evenbegun:‘F**kinghell,shereminds meofmyfamily!You shouldmeet my tor 7,whoretorted immediatelyaftertheexperience,before theformalinterview knew whendiscussingthecharacter. Thiswas mostdramaticallyexpressed byVisi explicitlyreferreddisease. Fiveoftheparticipants totheirexperienceofpeoplethey 1950shousewife;alonelyOAP;anelderlyladywithAlzheimer’stive type;theperfect ly, bubbly’hostess;anauthoritarian,formerteacher; eccentricBritishladydetec English woman),butalsolotsofdifferences. Interpretations ofherincluded:a‘friend reported thattheythoughtittobe‘now’. don andsixparticipants situatedtheinstallationeither‘here’the eventstookplace,fiveparticipants orinLon people tookthesettingliterally. Havingbeenasked‘where’ and‘when’theythought Participants also had very different interpretationsParticipants of their own role in the work. cameupwithinterpretationsThe Visitors thatshared areas ofsimilarity(older, about hersaying,‘Yes, Ithinkthis.Whatdoyouthink?’afterwards... shewouldgive she justseemedtobequitebossy. Theconversationwasquiteintense.It all She seemedquitepatronising. That’s whyIthoughtshewaslikeateacher, because She didn’tlikeme.Itriedtocharmher. Shedidn’tlikeme. So wedidn’treally knoweachother. clothes andinvitedmeoverIthought,‘Well, it’s afree meal!’Idecidedtogoover. We don’tknoweachother. We justmetinthecitywalkingalong.Sheadmired my cessful, butinteresting enoughforustowantcontinuetherelationship. visited eachother’s housesanumberoftimes.Eachtimehasnotbeen terriblysuc- I mightbeaninteresting persontocarryonknowing.Sincetwoyearsagowehave I thinkwemetyearsagoatamutualfriend’s andshethoughtthat Christmasparty 4.4 The performative viewerinpractice 4.4 Theperformative Visitor 3 Visitor Visitor 7 Visitor Visitor 1 Visitor 153 ------4. Reception: The performative viewer head’. Sherecalled herexperienceasfollows: 1describedaslike‘aspaceinsideyour of anoumenalworkanimationthatVisitor directly engagedwith.Theinstallationcreated adirect, lived,phenomenalexperience creating asituationinwhichananimatedcharacterwasnotpassivelyobserved,but tookplaceonmultiple levels: In thispiece,performance unpredictable (but not always appropriate) responses that they had from Miss Smith. ticipant felttheimpactofher/hisproximity ontheimmediate,non-repetitive and that wasexperiencedinthepresent anduniquetoeachindividualVisitor. Thepar bare room ofmytenant. Iimaginedmyselfasthelandladyofa70sLondonboarding houseshowingthemintothethread- 1 This project aimedtotestphenomenologicalfilmandanimationtheoryinactionby In 6. 5. 4. 3. playedtherole Theparticipant oftheVisitor; 2. 1. Lunch withMissSmith enclosed area ofdream soithasasort unreality already. Thentositatatablewith outside thisroom. There isnosenseofthere beingaworldoutside.It’s acompletely ity, inthatit’s from socompletelyclosedoff theoutsideworld.There isnoview I thinkitwasstrange,becausethissituationthatamsittingin hasasenseofunreal- kind ofhierarchical inthesensethatshewascontrol. her opinionbefore askingyouyours.That’s whatIsensedfrom her. Soitwasquite researcher, oncamera. formallyquestioningtheparticipant After theconversationalexperimentwasover, therole Iperformed ofthe dialogue Iwrote; agined myselfasMissSmithandhowshewouldbehaveinspeakingthe by proxya performance from the past, in which I have kinaesthetically im The pre-recorded clips thatconstitutedherrepertoire ofbehaviourcontained ofcreatingperformance animation; bound themtogetherrecorded thenon-matrixedactionsthatare doneinthe The framesthatmadeuptheMissSmithclipsandActionScriptcode heard hersayoverclosedcircuit television; actor, MissSmith,inresponse totheVisitor’s facialreactions andwhatI byproxyI performed inthepresent through liveoperationoftheconstructed- them intotheinstallation; At thedoor, Igreeted incharacterastheLandladyandbrought theVisitor 4.4 The performative viewerinpractice 4.4 Theperformative , animationwasusedtocreate athree-dimensional event 1 Visitor 8 Visitor 154 - - 4. Reception: The performative viewer reach in theinstallationalladdedtoexperienceofbeingaVisitor Arriving atthelocation,knockingondoorandmovingthrough adjoiningspacesto Smith as‘invading’his‘personalspace’.Hereported: aesthetically integrated with the real room. 4 went so far as to describe Miss Visitor screential experienceinwhichtheimaginaryspaceofcartoon isphysicallyand literally thatwhichisun-homelyandunfamiliar, andpresented withaspa theVisitor Smith experiment. However, but thechoiceofrespondents wasnotrandomsed,soitcouldn’tbecalledatrue accurate to refer to it as a quasi-experiment. Multiple data sources were used (12), in thehome,itengagedwithuncannyitsoriginalGermansenseof the UniversitywithinwhichIambasedandgaveitaconnectionwithreal life. that wouldbeassociatedwithaninstitutionalcontextsuchasagallery, acinemaor to participate directly.to participate not theaimofstudy, merely apremise topiquetheirinterest andencouragethem character’,buttheactofconversationitselfwas ‘have aconversationwithcartoon interpretations of a character would vary within a group. were Participants invited to the viewercontributesherownindividualunderstandingtoacharacterandhowmuch spectatorship couldbetestedout.Itwasdesignedtomeasure theextenttowhich to provoke andopendebateintopracticalwaysinwhichtheoriesaboutperformative reception studyintotheperception ofanimatedcharacter. Theproject wasdesigned ciological study, but as a means to generate data and to argue for practice-based gallery suchasJudyChicago’s Whilecreating theinstallationIconsidered ina theimpactof stagingasimulateddinnerparty 1 This art projectThis art was designed to be an experiment, although it would be more . Stagingthisinstallationinadomesticsettingremoved thelayersofmeaning because ofourworldbeingsopreferenced towards notunlikelyatall. the virtual, figure onascreen seemsononehandpeculiarandextraordinary butontheother, drawings onandhaveaconversation-orattemptwithananimated space... I’dprobably seeheragain,butIdon’tknowifI’dintroduce hertomyfriends. for hertobemore accepted bypeople,Ithinksheshouldknowmore aboutpersonal When sheemphasisedacoupleofpoints,invadedmypersonalspace.Inorder 4.4 The performative viewerinpractice 4.4 Theperformative LunchwithMissSmith Dinner Party (1974-9) or Stuart Brisley’s (1974-9)orStuart wasnotintendedtobeadefinitiveso 10 Days (1973-8). Lunch withMiss unheimlich 1 Situated 155 , - - 4. Reception: The performative viewer mance isn’t“in”anything,but“between”. takesplaceasaction,interactionandrelation… that,‘performance Perfor asserts tween’ thatbyimplicationisdecodedinthemindofviewer, Richard Schechner further practicalexperimentationandresearchfurther intothisarea. viewer andaproduction teamandthecontextinwhichitisseen(2)toargue for character ismadetoappearasifitwere real transactionbetweena inaperformative psychology andperceptual animacyandI would liketo(1)maintainthattheanimated experiment builduponthecurrent literature inphenomenologicaltheory, cognitive a smallsample size, caution must be applied, however the findings from this quasi- edge ofvisualconventions,stockarchetypes such andculturalcodes(A+B).With the viewingsituationandcontextofherownlivedexperienceshared knowl theworkinanexchangebetweencreatorthe viewerco-performs ofthecharacter, Smith 1 Echoing NormanMcLaren’s ideaofanimationasdefinedbyanintangible‘in-be confirmtheseprevious ideasandcontributeadditionalevidencetosuggestthat Schechner, Performance Studies:AnIntroduction,Performance SecondEdition 4.4 The performative viewerinpractice 4.4 Theperformative 1 Myinitialfindingsfrom , 30. Lunch withMiss 156 - - - 4. Reception: The performative viewer I participation being constituent featuresparticipation of liveness, I commence with a case study of decoded bytheviewer. message thatwasencodedbyananimationproductionteamisreceivedand the mindofviewer.Thischaptersetsouttodeterminehowanimated to the processwherebya fictional, performed construct is broughtto life in ered aperformerandwhetheranimationcouldbelive.Inowturnmyattention a character, installation. Ipresent art aquasi-experimentintheformofparticipatory character thatispresented toher. to examinethenotionofareciprocal relationship betweentheviewerandfictional perceptual animacy, theoriesofreadership andphenomenologicalperception inorder also choreographed by the work, I then reflect on key concepts from the fields of it. Concludingthattheviewermovesworkandyet,inturn,isherself into beingthrough thephysicalpresence of theaudience and theirinteraction with 4.5 Conclusion Lunch withMissSmith Becoming Starfish participant was structuredparticipant into the role of Miss Smith’s visitor. My own performances took place on many levels. Fromter 2, performance the moment they arrived each outlined in Chap world.Expandinguponideasoftheanimatorasperformer cartoon allowed a blurring of boundaries between the authentic, real world and a fictional, in a genuine domestic location and removing the distraction of a strong narrative provide unpredictable responses Situatingtheinstallation toaudienceparticipation. tailored, three-dimensional experiencethattookplaceinthepresent timeandcould liveness outlined in the previous chapter, this took the form of a unique, individually the role oftheviewerasco-creator ofcharacter. Buildingonideasofthenature of terms ‘animation’and‘performance’,whethertheanimatorcouldbeconsid n previouschapters,Ihaveexamineddebatesaroundthemeaningsof As acontinuationofideasintheprevious chapteraboutaudienceproximity and Positing thehypothesisthatreader isatthecentre oftheprocess ofdecoding byGeneticMooinwhichtheanimatedcharacterisliterallybrought was undertaken toobservetheviewingprocess wasundertaken andevaluate 4.5 Conclusion 157 - - 4. Reception: The performative viewer characters, isnotareal personbutafictionalconstruct. character that,likelive,humanperformed tion, theviewerexperiencesaperformed to argue thatthisisnotspecifictoanimatedcharacters.Watching acharacteranima real-life experiencesandknowledgeofculturalarchetypes. Furthermore, Iwouldlike character isviewedand(3)asubjectivecontributionfrom theviewer’s ownmemories, author’s creative intentbehindthecharacter’s creation, (2)thecontextinwhich derstanding of a fictional character is a transaction between three discourses: (1) the in aspecifichistorical,cultural,technological,geographicandsocialcontext.Theun the viewer’s priorknowledgeand lived experience. It isalsoanact that takesplace meaning and‘life’.Thisprocess of‘decoding’isanactexchangethatreferences and putintomotionbysomeoneelse(encoded),itistheviewerwhoimbueswith Althoughthecharacterhasbeendesigned is notfixedbytheauthorofperformance. ing theirimpressions ofMissSmith. several occasions would explicitly refer to her/his own lived experience while describ commonality, eachintervieweehadadifferent interpretation ofthecharacterandon Inotedthatwhiletherebeen conductedwitheachparticipant, were afewpointsof camera. Reflectingonthevideo-cuedrecall andsemi-structured interviews that had close, Iplayedtherole ofPhDResearcher, on formallyquestioningtheparticipants arrived, Iplayedanactualrole (theLandlady).Finally, astheinstallationdrew toa response totheVisitor’s reaction asifshewere amediatedpuppet.AseachVisitor animated clipswouldbeshown,thusoperatingthecharacterinreal-time ininstant by proxy.to give a performance At run-time, during the installation, I selected which tionScript code. Duringthisauthor-time phase, Iconsciouslycreated hertobeable through recorded actsofnon-matrixedperformance asdrawn,digitalmarksandAc were Icreated multiple.Asanartist, theanimatedcharacter, MissSmith,inthepast In thenextchapter, Iwillsummariseandreflect onmyconclusionssofar. Taken together, thesevarioussources ofinformationsuggestthatcharacterisation

158 - - - - 5. Conclusion: Animation as performance I 5. Conclusion:Animationasperformance process’ thatgoesbeyonddefinitionbythetechnicalprocessesinvolvedandis: Alan Cholodenkoarguesforatheorisationofanimationas‘idea,conceptor technical processesratherthantoconsideritmorebroadlyandconceptually. this explanationisthatitcontinuestodefineanimationreductivelyintermsof have been photographically captured by a camera in real-time. The limitation of mediated, movingimagesofamanipulated,artificialconstructthatcouldnot purpose ofclarity,Ihaveusedtheworkingdefinitionthatanimationconsists logical changeinanimationpracticeand,consequently,thisstudy,forthe to a conceptual practice that uses the tools of animation, but takes a form which that what I was doing could be regarded as ‘post-animation’. I use this term to refer would takethetraditionalformofananimatedfilm,Iconsciously adoptedthenotion between my research questions and methods. As opposed to creating work that be considered andwhetherthiscouldtakeplacelive,inthe present. asperformance rather thanthrough thatoffilmstudies,inorder todeterminewhetheranimation could throughin termsofperformance thelensof theatre studies, historyandperformance of the larger Asa consequence, I havelooked at animation territoryof performance. restricted byafinitedefinitionofthiscomplexfield,animationshouldbeseenaspart using digitaltechnologyinalivecontext.Iwouldliketoargue thatratherthanbeing subset offilm,Ihaveexplored notjustwhatanimationis,butcouldbe what animationis.Ratherthanbeingboundtoatraditionalparadigmofas

tions about the definition of animation have been problematised by techno will nowreturntothequestionposedinchapter1:whatisanimation?Assump Cholodenko,“Introduction,” in 1 The research methodologythatIemployedendeavoured toachieveanalignment Responding tothis,myresearch hasaimedtogobeyondpreconceived notionsof area ofbeingandbecoming,time,space,motion,change-indeed,lifeitself. most profound, complexandchallengingquestionsofourculture, questionsinthe notion whosepurchase wouldbetransdisciplinary, transinstitutional,implicatingthe … notdelimitedtoandbytheanimationfilm(andconventionalideasofit)butasa The Illusionoflife:Essaysonanimation , 15.

1 159 - - 5. Conclusion: Animation as performance tion theatre’ andpioneered aformoflive,stop-motionanimation; the disciplineinwhichtheylocatetheirworkthrough theiruseofdigitaltechnology: uses animation,yetdoesnotdefinetheirpracticeasanimation andalsoquestions oftheirstageacts:eachthem ers whouseanimatedcharactersasanintegralpart tied tothelinearmediumoffilm,butcanbenon-linear, liveandspontaneous. work demonstratesatypeofpost-mediumpracticeinwhichanimationisnolonger may notconsidertheirworktobeanimation(andevenresist thislabel),buttheir a multiplicityofhybridformsthatdefytraditionalcategorization.Thesepractitioners tive technology, havemerged digitalmediaandcontemporaryperformance tocreate theatrespecialist field of animation, such as dance, fine art, and comedy. Reproduc techniques toarangeofcontemporarypractitionersinotherdisciplinesoutsidethe puters, digital cameras and ‘prosumer’ software has now enabled access to animation number ofhighlytrainedandskilledpractitioners.Theproliferation ofdesktopcom animation were notavailabletothegeneralpublic,beingonlyaccessiblealimited animated film.Historically, thecomplexandexpensivetechnicalprocesses involvedin used tocreate hybrid contentthatdoesnotconformwiththeacceptedformofan traditionally acceptedasanimationdemonstratesthattechnologycanbe and disciplines.Interdisciplinary workcreated bypeoplefrom fieldsoutsidethose experimentation: thishasallowedcreators togobeyondtraditionallydelineatedlabels mance thatIconsidertobepost-animation.Animationisakeycomponentofdigital live andstudyingviewerresponse toliveanimation. method: creating, within and becoming animation, operating characters performing Iinvestigatethenature asaresearchperformance, ofanimationusingperformance paradigms ofanimation.Additionally, oftheaimtoconsideranimationas insupport is not animation as conventionally understood and thus de-constructs conventional ฀Howard฀Read฀questions฀stand-up฀comedy฀and฀improvisation฀through฀working฀ •฀ In฀their฀experimental฀work฀with฀puppets,฀Faulty฀Optic฀coined฀the฀term฀‘anima •฀ From thisnewly-delineatedfieldthatIhaveidentified,interviewedkeypractition In order tocontextualisemypractice,Iidentifyanarea oflive,intermedialperfor

160 - - - - - 5. Conclusion: Animation as performance ontology. cannotbeseparatedonthebasisof to demonstratethatanimationandperformance andlivenessinorderconforms tomyworkingdefinitionsofanimation,performance lates tothecentralarguments intheresearch. Thematrixdescribeshoweachproject matrix, Ihavesummarisedhowmyownpracticeandthatoffourcasestudiesre through /aboutdoingindialoguewithliterature andpracticereview. Inthefollowing as emerging from acyclicalpraxisinwhichideaswere generatedfrom thinkingin/ practice canbeseenasatoneandthesametimeembodyingclaimswell viewing offilmsandtheirworkdemandsactualphysicalengagement. realms;virtual of thephysicalbodyandseekstoexpandchoreography intonewsynaestheticand with databasesofplannedandprepared responses; Thus, the research process involved multiple sources of evidence. The resultant Genetic฀Moo฀use฀interactive฀technology฀to฀get฀away฀from฀traditional฀passive฀ •฀ Margie฀Medlin’s฀Quartet฀challenges฀the฀authorship฀of฀dance฀and฀the฀limits฀ •฀

161 - r h t e i h c h n i i t t s o d

m i t v e e h h o a S l t t n y o g e e p w M i l i i t r r s o k R O m t t r r s L p T o c e e w m i i y h e e a d S D m M m I t t t r n c e h o T B D l t r r s a c e a w H & i l t s a L o n u n e a g w i t r r x u h A u u u h e o o a t L E F U H D A H D G Q O W M M

CHAPTER SECTION 2.2 2.6 2.6 3.2 3.3 3.3 3.5 3.5 4.4 2.4 3.4 3.5 4.2 to be (character) ANIMATION (p21-2) *Constructed actor (artificial construct) *Mediation (i.e. description, storage, retrieval) *The movements couldn’t have been cap- tured by a camera in real time to be PERFORMANCE (p32) *Human body / substitute

*Assumes an identity beyond the everyday

*Displayed for an audience

*Re-presents planned and prepared, twice- behaved behaviour *Time-based and has LIVENESS as defined by (p8)

*Takes place ‘now’, in the present

*Frisson of the unexpected - possibility of either unpredictability, spontaneity or improvi- sation *Viewer has a sense of their own agency through either physical proximity or the potential to affect an impact on the work further CLAIMS

*A unique, one-off event *The character is performed by proxy

*And involves non-matrixed performance 1 *The viewer co-performs the character A E AP AP AAAP AP E AP A AP

Key: Major project fully covered in own chapter section Minor project mentioned in the text External case study fully covered in own chapter section Size of tick indicates strength of claim. 1A - assumed, E - anecdotal evidence, AP - audience participation

Figure 74. Birgitta Hosea. Matrix of practice, 2011.

162 5. Conclusion: Animation as performance ‘endowing withlife’. inanimate istransformedintotheanimatethrough ‘endowingwithmovement’oreven Cholodenko contends that the basis of animation is that it is a process in which the art historian,ErwinPanofsky’sart proposition from 1934,that: fromacts), thesimplisticdivisionofperformance animationhasbeendefied.Citing I makeaninitialattempttogetinsideacharacterphysically, totrybringanimation sticks by proxy thatextendsthebodyofperformer. From thefilm, of thehumanbody. abstractandconceptualideasbeyondthelimits andenablehertoportray performer petry. extendthebodyof Intheseformsofconstructed-acting,symbolicartefacts practices inwhichasymbolicsubstituteforthehumanbodyisused:maskandpup ofacontinuumancientperformance ofanimationandcanbeseenaspart the heart character. Commencingwith by thecharactertheyare creating: tryingonthephysicalattributesofanimaginary themselves inamirror forreference, itcouldbeargued thattheybecomeanimated garded act,whichenactsthatitsignifies.Asanimatorsstudy asaperformative mediated through aformoftechnology. twice-behaved, extra-dailybehaviourthatisprepared fortheattentionofothersand displaced onto the animated character. is a form of This substitutive performance that is to wearingamaskormanipulatingpuppet,animationisperformance Cholodenko,“Introduction,” inTheIllusionoflife:Essaysonanimation,15-16. 2 footnote, 252. ductory Readings,ed.GeraldMastandMarshallCohen(NewYork: Oxford UniversityPress, 1974), ErwinPanofsky, “StyleandMediumintheMotionPictures,” inFilmTheoryandCriticism:Intro- 1 From the earliestanimated films (a development of magictheatre andmusic hall Through myresearch, Ipresent thecasethatanimationisaformofperformance In addition to viewing it as substitutive performance, animationcanalsobereIn additiontoviewingitassubstitutiveperformance, , I have identified the term substitutive performance todescribethis.Similar , Ihaveidentifiedthetermsubstitutiveperformance sis… things withlife,orlivingadifferent ametamorpho- kindoflife.Iteffects istoanimate,thatsayendowlifeless oftheanimatedcartoon The veryvirtue 1 2 Thisuncannyactofbringingthedeadandinanimatetolifeisat Dog Betty , a series of performative publicinterventions, , aseriesofperformative Bedknobs andBroom

163 - - - 5. Conclusion: Animation as performance and erasedovertimeina‘straightahead’ production through myactions,itisunclearwhatreal andwhatisillusion. formed livewithinaholographicprojection ofthisanimation,revealing themeansof non-matrixed actofanimationinwhichmypresence iserasedandrevealed. AsIper which records thetraceofherpresence. Thisideawasexplored in of animationitselfcan be considered by theanimator, asanon-matrixed performance thattheanimatorwentthrough.as elementsofaprivateperformance Thus,theact and actionsthatare recorded intheform of marksorforms.Thesecouldberegarded lywood star, Ibecomeahybridofanimatedcharacterandhystericalliveperformer. live art, Icreatedidentity andtheideathatanimationitselfcouldbeperformative, aworkof spired byJudithButler’s ritualisticconstructionoffeminine notionoftheperformative, thescreenoff andintothethree dimensionalspaceofthepresent moment.Alsoin digital animationcanbebothplayedbackandgenerated inanon-linearmannerat - bycode.Technically andconceptuallyfreed from itsintrinsicrelationship tofilm, to themediumoffilm.Itcanbemediated-created, stored, transmittedandenacted a frame-by-frame process. digital technology, With animation is no longer restricted have explored theimplicationsthatresult from animationnolongerbeingconsidered presence oftheprocess. oractivities,rathershowingthemaspart over time,ratherthancreating theillusionofmovingdrawing,wedonothideour own demonstrating anon-matrixedactofanimation:inrecording ourgestures asmarks in a gallery context. I regardperformance our work as live animation because we are Kentridge.Thegroups’als, suchasWilliam drawingsare madeinreal timeduringa pared totheproduction methodsofanimatorswhousetraditionaldrawingmateri or precisely timedkeyframes. Atechnicaltermforthecreation ofanimationspontaneously without recourse torigidstoryboards 1 The artists’ group,The artists’ DrawnTogether create sequentialdrawingsthatare addedto In thepracticalcreation ofananimation,theanimatorherselfmakesmovements In additiontopresenting onvariouslevels,I acasethatanimationisperformance Out There intheDark, inwhich,possessedbytheiconictheatricsofaHol 1 technique.Theseactivitiescanbecom White Lines

164 -a - - - - - 5. Conclusion: Animation as performance dance piece, approach can be seen in the live work of Howard Read as well as Margie Medlin’s ment informationcanbenon-linearlyaccessedtogenerateanimationinstantly. This sequences oralgorithmicresponses tosensualinputssuchasbiofeedbackormove synaesthetic nature of the digital realm. Data such as previously prepared animated sense ofunpredictability couldbeintroduced inlivesituations,duetotheinherently animated characters could talkbackandinstantly react A toaudience participation. in theshared, non-physical,socialspaceoftheinternet.UsingUpStageserver, was run-time, creating unique,auratic,individuallyexperiencedevents.Onesuchexample lation asquasi-experiment.Theaimof ception. Inorder toexaminethisinmore instal detail,Icreated art aparticipatory psychology, perceptual animacy, theoriesofreadership andphenomenologicalper byfindingsfrom bytheviewercanbesupported cognitive experienced asperformed utes her lived experience to her understanding of the character. That character is matterinturnanimatesthecognitive processesto inert oftheviewer, whocontrib forms andcomestolifeintheimaginationofviewer. Theactofbringingmotion the viewer. a coherent character is created in thepresent moment of perception in themind of ed-actor. Althoughtheintentbehindacharactermaybecarriedoutbymultiplehands, and teams. Thisisnot,however, restricted toanimation.IntheworkofbothFaultyOptic inafactoryproductionperformers, systemanimationismostfrequently created in the present, three-dimensional andwiththe viewer’s proximity acknowledged. demonstrate thatanimationcanbeexperiencedaslive:immediate,spontaneous,in nologies allowanimationtoescapetheflatscreen. Taken togethertheseexamples projection andtheuseofphysicalcomputingwithmotors:thesetechniquestech sions. Expandedcinema,holographicprojection, augmentedreality, 3Ddigital film The animatedcharacterisafictionalconstruct,butitexperiencedasifper istypicallyconsideredAlthough aliveperformance tobetheworkofindividual Quartet At Home with Mr and Mrs Smith , multiple forms of authorship combine in the performance ofaconstruct , multipleformsofauthorshipcombineintheperformance Quartet . Furthermore, animationisnolongerconfinedtotwodimen , a unique, synchronous, animated performance Lunch withMissSmith wastoengenderan

165 ------5. Conclusion: Animation as performance tween subjects, relationships practice can be between different forms of performance relation andofthespectator). tothebody(ofperformer diagram, which proposes in termsof a tentativemap of the territory ofperformance context. Thisfieldofpracticeisdefinedbytwoaxes,as represented inthefollowing of theviewer, whotogetherco-create theexperiencewithinahistoricalandcultural but by the degree and the body of separation between the body of the performer differentiated ated neither form by of tradition embodied nor performance technology, the bodiesofbothactorandviewer. ofthis,Iargue Aspart thatanimationisamedi viewer. Ipropose definedby aconceptualisationofdifferent modesofperformance, issue ofcorporeality and,intermsofembodiedperception, oftheperformer ofthe foreground thatcombinemanydifferent modesofperformance performances the this debate,becauseananimatedcharacterlackscorporeal presence. Intermedial corporeality oftheactor. destabilises Aconsiderationofanimationasperformance These contentions centre around the proximity of the viewer in space and time to the and thatmanyformsofsynchronous mediacreate uniqueeventsinthepresent time. argument thatthere isachemicalguaranteeofpresence inthephotographicprocess emit a unique and authentic aura that resists representation. In opposition to this is the Proponentsmediated performance. oflivenessmaintainthatoriginalbodiesonstage the corporeal bodyoftheactorandchallengesabinaryoppositionbetweenlive from itself.Itenablesanabstraction oftheconceptperformance of performance andthewiderfield subsequent implicationsforboththeanimationinperformance viewer. between anoriginalactofcreative intention,thecontextinwhichitisviewedand Thecharactercanbesaidto‘exist’inthetransaction the momentofperformance. the creation of a fictional character - whether animation, live or film - is not fixed in From thesemultiple sources ofinformation,Iconcludedthatthecreative intentbehind be outwiththedistractionofnarrativeandtostudyhowthatcharacterwasreceived. characterinaneveryday,active encounterwithacartoon domesticsettingthatwould Through focussingon thecentralactofembodiedperception andexchange be has inanimationandasperformance Investigating theperformance

166 - - 5. Conclusion: Animation as performance are includedattheoppositeendbecauseagrowing numberofexperimentaldance central positionisventriloquism,inwhichthebodyof ventriloquistisseen.Robots as theatre, whichcould alsoincludecarnival,street circus, entertainment, etc. Ina herself from thehumanbody. Thus,atoneextreme isacollectionofpractices known to inanimate,constructed-actor. Itrepresents degrees ofseparationtheperformer It alsorepresents thedegrees ofreciprocity andexchangebetweenthetwo. physical proximity between thebodyofspectatorandperformer. been recorded andreproduced. Inthiscontext,axisrepresents thedegree of is re-presented atrun-time.Thus,thisisanumbrella thathas termforperformance inwhichareproductionto describeperformance oforiginalauthor-timeperformance ed, from theliveandphysicallypresent tothemediated.Theterm‘mediated’isused practiceisrepresentestablished. Onthehorizontalaxis,acontinuumofperformance Figure 75.Birgitta Hosea, CONSTRUCTED- The vertical axisrepresentsThe vertical acontinuumofpracticefrom animate,human-actor HUMAN- ACTOR ACTOR

HUMAN

Modes of performance diagram,2010. Modes ofperformance PHYSICALPROXIMITY object theatre theatre object ventriloquism puppet animation / mask theatre theatre robot characters generated characters robot

motion capture motioncapture tele-presence

character animationcharacter MEDIATED intolive action rmA /databases AI from SFX film animationcomposited

167 - 5. Conclusion: Animation as performance Marina Abramovic,hasstatedthat: not represent artist, fictionalcharacters.Forexample,ofherearlyworkperformance considersitselfauthentic,becauseitsactivitiesdo /BodyLiveArt Performance intended asavaluejudgement.Thebodyofpracticelooselydefinedundertheterms isnot theatricaltradition to whichitbelongs. This assertion tions oftheparticular and prepared twice-behavedactionsthatare underpinnedbythecodesandconven not completelyauthenticandspontaneous.Itdrawsuponaseriesoflearned,planned ates simpleandcomplexformsofacting.However, inpracticetheatricalbehaviouris For MichaelKirby, asdiscussedinChapter1,thisemotionalcommitmentdifferenti in whichtheactorslosetheirownegosandbecomecharacterthattheyportray. ism withabstractideas.Cholodenkocontendsthat: Studiesthatopposemimeticrealtions valuejudgementsinthefieldofPerformance andtheembodiedperceptionof theperformer oftheviewer. right cornerofthediagramimplyadegree ofseparationbetweenthephysicalbody andtheembodiedperceptionperformer ofthespectator. Practicesinthebottom diagram displayahighdegree ofcommunicationbetweenthephysicalbody practitioners are creating withrobots. performances Practicesinthetopleftof mimesis: an imitation of life. Rather thandirectly accessingreality, onthecontrary, justliketheinstitution ofthea Cholodenko,“Introduction,” in 1 Harwood Academic,1996),181. intoTheatre interviewsanddocuments.(London;Amsterdam: NickKaye,Art :Performance 3 Aristotle,Poetics,trans.HeathMalcolm(London:Penguin,1996),3. 2 Furthermore, aconsiderationoftheunreal, ques animated bodyasaperformer For Aristotle, all arts -epicpoetry,For Aristotle,allarts tragedy, comedy, paintingormusic-involve to saywhichiswhich,asitindeterminesandsuspendsallthings. pends thedistinctionbetweenrepresentation andsimulation,whatmakesitimpossible senseanimationmaybethoughttothatwhichindeterminesandsus- ... inacertain strong. We refused thetheatricalstructure. able. There wasnorepetition. Itwas newformeandthesenseofreality was very haswere Allthequalitiesthatperformance unrehears-not dealwith.Itwasartificial. ...theatre wasanabsoluteenemy. Itwassomethingbad,itweshould 2 Naturalistic acting aims for lifelikeness and authenticity The Illusionoflife:Essaysonanimation 3 , 21-2. 1

168 - - - - - 5. Conclusion: Animation as performance of copiesIdeas. real authenticreality toreveal situation-onlysimulations,copies intheperformance who didnotthinkforthemselves,butmerely consumedescapistentertainment. emotional identification with characters that imitated life led to passive spectators Platonic presentation of pure Brecht ideas. Bertolt concurred with the sentiment that Edward Gordon Craigargued forarejection oftheimitationnature andareturn toa imitation ofthephenomenalworldandapresentation ofthenoumenalworldideas. cess authenticreality, Modernisttheatre practitionershave differentiated betweenan behaved, butplanned,prepared andoftenrehearsed andrepeated. areestablishment. Behaviourspresented /BodyLiveArt notonce- asPerformance institutional gatekeepersofaninstitutionthatfundsandpresents itsactivities-theart tre thatitopposes,thiskindofpracticealsoinvolvesthecodes,conventionsand and given the appearance of life challenges the whole Enlightenment notion of indi this unnatural process by which the inhuman and lifeless are bestowed with motion knew oftheboundariesbetweenlifeanddeath laws ofnature. Furthermore, oppositions betweenmimesisandabstractthought; whatwethought in theformofabody. and yetitisanidealarena inwhichtostudyButler’s notionofideologymademanifest itsexplicitartificiality,With animationcannotmakeclaimsfordepictingtheauthentic that comestolifeisanideamademanifestandtransformedintoasubstitutebody. constructions. Thisismadeexplicitinanimationastheuncanny, undeadcharacter outside andthrough repetitive ritualstransformourphysicalbodiesintoideological Butler argues thatwemakethesesimulationsmanifest.We takeideasfrom theworld world through ourownlivedexperiencebutthrough theubiquitousmassmedia.Judith New York: HarvesterWheatsheaf,1993),165. MadanSarup,Anintroductory guidetopost-structuralismandpostmodernism,2nded.(London; 1 For Postmodernthinkers,suchasJeanBaudrillard, justasforPlato,there isno claim to ac Although both naturalistic approaches Art to acting and Performance Animation’s combinationoftherecognisable withtheimpossibleunsettlesbinary 1 Inourcontemporaryglobalculture, wenolongerexperiencethe

169 - - 5. Conclusion: Animation as performance which there isnoauthenticreality merely simulations. by sociallydefinedgesture andtherepetitive re-performance ofidentityinaworld idea ofthephysicalbodyoutwithconsciouscontrol; thehauntingofcorporeal are brought totherealm ofthelivingthrough movement.Itbringstothefore Butler’s intentofanotherand actions ofothers:theundeadcharactersenactperformative arevidualism andthecentralityofsubject.Animatedperformers controlled bythe

170 6. Portfolio 6.1 StillImages 6. Portfolio 6.1 StillImages 171 6. Portfolio of publicinterventions.CentralLondon. Plate 1.Stillsfrom the Dog Betty series of short films,2007.Screen seriesofshort captures from DVvideo 6.1 StillImages 172 6. Portfolio Plate 2. Out There in the Dark , 2008.Technical setupforfullgalleryinstallation. 6.1 StillImages 173 6. Portfolio from DVvideo.LethabyGallery, London. Plate 3.Stillsfrom Out There in the Dark live gallery performance, 2008.Screen livegalleryperformance, captures 6.1 StillImages 174 6. Portfolio from DVvideo.LethabyGallery, London. Plate 4.Stillsfrom Out There in the Dark live gallery performance, 2008.Screen livegalleryperformance, captures 6.1 StillImages 175 6. Portfolio Plate 5. Out There in the Dark , 2009.Technical infilmfestival. setupforliveperformance 6.1 StillImages 176 6. Portfolio graphs. Shown as part of Act Art 07,Hidden,London. ofActArt graphs. Shownaspart Plate 6. Out There inthe Dark live peepshow performance, 2009.Mobilephonephoto- livepeepshowperformance, 6.1 StillImages 177 6. Portfolio Think Straight,LLGFF, BFI,London. Plate 7. Out There in the Dark live stage performance, 2010. Shown as part ofICan’tEven 2010.Shownaspart livestageperformance, 6.1 StillImages 178 6. Portfolio Queer ExperimentalFilmFestival,TheaterfortheNewCity, NewYork. Plate 8. Out There inthe Dark live peepshow performance, 2010. Shown as part ofMix23 2010.Shownaspart livepeepshowperformance, 6.1 StillImages 179 6. Portfolio Plate 9. Maureen Baas.Forkbeard FantasyStudios,Devon. Exorcism , 2009. Live performance withprojected, 2009.Liveperformance animation byBirgitta Hoseaand 6.1 StillImages 180 6. Portfolio Plate 11. Plate 10. performance. UpStage090909Festival. performance. UpStage090909Festival. performance. At HomewithMrandMrsSmith At HomewithMrandMrsSmith , 2009.Screen capture ofaudience viewduringlive , 2009.Screen capture ofaudienceviewduringlive 6.1 StillImages 181 6. Portfolio Plate 13. Plate 12. performance. UpStage090909Festival. performance. UpStage090909Festival. performance. At HomewithMrandMrsSmith At HomewithMrandMrsSmith , 2009.Screen capture ofaudience viewduringlive , 2009.Screen capture ofaudienceviewduringlive 6.1 StillImages 182 6. Portfolio Plate 15. Plate 14. performance. UpStage090909Festival. performance. UpStage090909Festival. performance. At HomewithMrandMrsSmith At HomewithMrandMrsSmith , 2009.Screen capture ofaudience viewduringlive , 2009.Screen capture ofaudienceviewduringlive 6.1 StillImages 183 6. Portfolio Plate 16. live performance. UpStage090909Festival. live performance. At HomewithMrandMrsSmith , 2009.Screen capture ofaudience viewduring 6.1 StillImages 184 6. Portfolio Plate 17. tion at Kinetica Art FairandShunt,London. tion atKineticaArt White Lines , 2010.Stillimagesfrom insideaholographicprojec- liveperformances 6.1 StillImages 185 6. Portfolio Plate18. motor. by AnnePietsch),2007.Doll,arduino board, lightsensitivesensor, red laserpointer, small Hula Doll , amotoriseddollthatreacts tohumanproximity, (technicalassistace 6.1 StillImages 186 6. Portfolio mance Workshop, Rambert SchoolofBalletandContemporary Dance,London.mance Workshop, Rambert drawings madewiththeTagtool, LondonInterdisciplinary 2010. UniversityoftheArts Perfor- Plate 19.Improvised thatfeatured performance theprojection ofspontaneousanimated 6.1 StillImages 187 6. Portfolio mance Workshop, Rambert SchoolofBalletandContemporary Dance,London.mance Workshop, Rambert drawings madewiththeTagtool, LondonInterdisciplinary 2010. UniversityoftheArts Perfor- Plate 20.Improvised thatfeatured performance theprojection ofspontaneousanimated 6.1 StillImages 188 6. Portfolio ARC: Idrawforyou Plate 21.DrawnTogether (Maryclare Foá,JaneGrisewood,Birgitta HoseaandCaraliMcCall), , 2010. Centre for Drawing, Wimbledon College of Art. , 2010.Centre CollegeofArt. forDrawing, Wimbledon 6.1 StillImages 189 6. Portfolio ARC: Idrawforyou Plate 22.DrawnTogether (Maryclare Foá,JaneGrisewood,Birgitta HoseaandCaraliMcCall), , 2010. Centre for Drawing, Wimbledon College of Art. , 2010.Centre CollegeofArt. forDrawing, Wimbledon 6.1 StillImages 190 6. Portfolio Plate 23. Lunch withMissSmith Entrance , ground plan,2010. 6.1 StillImages Table andchairs from laptop TV setdisplaysimages Camera feed from camera TVplayslive Portable Laptop tooperateMissSmith 191 6. Portfolio Plate 25. Plate 24. Lunch withMissSmith Lunch withMissSmith , tabledressing, 2010. , mainroom set-up,2010. 6.1 StillImages 192 6. Portfolio controlled from, 2010. Plate 26. Lunch withMissSmith , behindthescenesinkitchenwhere thecharacter was 6.1 StillImages 193 6. Portfolio keyboard controlled digital character, 2010. Plate 27. LunchwithMissSmith , behind the scenes view of participants onTVmonitorand , behindthescenesviewofparticipants 6.1 StillImages 194 6. Portfolio Plate 28. Lunch withMissSmith, keyboard 2010. instructionschart, 6.1 StillImages 195 6. Portfolio drawings. Plate 29.MissSmithcharacterdevelopmentsketches,2010. Touch-screen mobilephone 6.1 StillImages 196 6. Portfolio Plate 30.MissSmithcharacterdesign,2010.Touch-screen mobilephonedrawings. 6.1 StillImages 197 6. Portfolio Plate 31.MissSmithcharacterdesign,2010.Touch-screen mobilephonedrawings. 6.1 StillImages 198 6. Portfolio Plate 32.BecomingMissSmith,2010. 6.1 StillImages 199 6. Portfolio Plate 33.BecomingMissSmith, 2010.Touch-screen mobilephonedrawings. 6.1 StillImages 200 6. Portfolio Plate 34.MissSmithin USC, LosAngeles. Chatter, 2010. Installion of animation loops, Cinematic Arts Gallery, 2010.Installionofanimationloops,CinematicArts 6.1 StillImages 201 6. 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Wolfensberger, Rolf.“OntheCouch–CapturingAudienceExperience:ACaseStudy Raymond. Williams, Youngblood, Gene. 7.2 Filmography Zimmerman, Andrea. “Secreting History:TheSpectralandSpectacularPerformance . Film.Directed byKatsuhiro Ohtomo.Japan: AkiraCommitteeCompanyLtd; . Film.Directed byJames Cameron. USA; UK: Twentieth Century FoxFilm Cor sics. 1930-1935;Orpington,Kent:DeltaMusicPLC,2006. poration, 2009. ment forImageScience:DanubeUniversityofKrems, 2009. on Paul Sermon’s Telematic Depart MA Thesis MediaArtHistories, Vision.” ductions, 1924. 2010. Bandai; Kodansha,1988. Century FoxFilmCorporation,1963. Productions, 1971. Gallery, 1998. 2006. London, PhDThesis,London:UniversityoftheArts Of PoliticalViolence.” Film.Directed byJosephL.Mankiewicz.UK;USA;Switzerland:Twentieth series.DVD.Directed byDaveFleischer. Clas 84EpisodesofCartoon Addressing theCentury:100Years &Fashion ofArt TVEpisode.PlayforToday. Directed byMikeLeigh.UK:BBC,1977. Expanded Cinema DVD. 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221 8. List of Works ฀page฀26.฀Figure฀6.฀A฀visual฀juxtaposition฀of฀the฀use฀of฀the฀Shadow฀Test฀to฀ •฀ Chapter 1.5 page฀15.฀Figure฀5.฀Promotional฀poster฀for฀the฀Mutagraph฀at฀the฀Egyptian฀Hall,฀ •฀ page฀14.฀Figure฀4.฀Lord฀of฀the฀Rings฀wallpaper.฀ •฀ Reproduced from www.51wall.com, (accessed01/02/2011). page฀14.฀Figure฀3.฀Lord฀of฀the฀Rings฀wallpaper. •฀ Reproduced from www.lordoftherings.net, (accessed01/02/2011). page฀14.฀Figure฀2.฀Lord฀of฀the฀Rings฀wallpaper.฀ •฀ Chapter 1.4 page฀7.฀Figure฀1.฀Birgitta฀Hosea,฀Production฀and฀reception฀diagram,฀2008. •฀ Chapter 1.3 8.1 ThesisIllustrations 8. ListofWorks ฀page฀39.฀Figure฀8.฀A฀Rangda฀dancer.฀This฀character฀is฀a฀widow฀and฀child-eating฀ •฀ Chapter 2.3 ฀page฀27.฀Figure฀7.฀Preston฀Blair,฀ •฀ animation manual,( determine strong readable bodyposesinbothDisneyanimator’s Preston Blair’s Oxford UniversityPress, 1981),57. Reproduced from EricBarnouw, TheMagicianandtheCinema(NewYork; Oxford: 1897. MuseumofLondon. Reproduced from www.lordoftherings.net, (accessed01/02/2011). demon queen.Bali. Foster Publishing,Inc.,1994),98. Reproduced from Preston Blair, Anthropology: TheSecret ofthePerformer Art Reproduced from EugenioBarbaandNicolaSavarese, lishing, Inc.,1994),179)andDecroux mimeexercises byIngemarLindh. (London; NewYork: Routledge,2006),204. Cartoon Animation Cartoon Cartoon Animation Cartoon Movements oftheTwo-Legged Figure (LagunaHills,California:Walter FosterPub- 8.1 ThesisIllustrations , trans.Richard Fowler, Second. (LagunaHills,California:Walter A DictionaryofTheatre . 222 8. List of Works ฀page฀43.฀Figure฀12.฀ •฀ page฀43.฀Figure฀11.฀ •฀ page฀39.฀Figure฀9.฀ •฀ ฀page฀39.฀Figure฀10.฀An฀‘artiicial฀son’฀puppet,฀used฀to฀bemoan฀the฀death฀of฀ •฀ ฀page฀47.฀Figure฀16.฀Winsor฀McCay,฀dir.฀ •฀ page฀44.฀Figure฀15.฀Georges฀Méliès,฀dir.฀L’homme฀a฀la฀Tête฀en฀Caoutchouc฀ •฀ page฀44.฀Figure฀14.฀Georges฀Méliès,฀dir.฀L’homme฀a฀la฀Tête฀en฀Caoutchouc฀ •฀ page฀43.฀Figure฀13.฀Front฀Cover฀of฀The฀Magician,฀February฀1907.฀Library฀of฀ •฀ Trick Photography. (NewYork: DoverPublicationsInc,1976),77. Reproduced and from AHopkins,Magic: StageIllusions,SpecialEffects Albert Ferndale Editions,1981),111. Ferndale Editions,1981),101. Reproduced from Andreas Lommel, 15. Reproduced from JerryBeck,ed. Reproduced from Andreas Lommel, life. Sumatra. men whohavenosons.Thepuppet’s ‘prayers’willaidthedeceasedinafter- Oxford UniversityPress, 1981),97. Reproduced from EricBarnouw, TheMagician andtheCinema(NewYork; Oxford: NewYork.(The ManwiththeRubberHead),1902.MuseumofModern Art, Oxford UniversityPress, 1981),97. Reproduced from EricBarnouw, TheMagicianandtheCinema(NewYork; Oxford: NewYork.(The ManwiththeRubberHead),1902.MuseumofModernArt, Oxford UniversityPress, 1981),111. Reproduced from EricBarnouw, TheMagicianandtheCinema(NewYork; Oxford: Congress. Trick Photography. (NewYork: DoverPublicationsInc,1976),63. Reproduced and from AHopkins,Magic: StageIllusions,SpecialEffects Albert survey Reproduced from EileenBlumenthal, between menandwomeninpolygamoushouseholds. puppet isusedinBamanadramatoexplore moralissuessuchastherelationship of Cartoon, AnimeandCGI of Cartoon, (London:ThamesandHudson,2005),45. Yayoroba The IllusionExplained, The IllusionoftheDecapitatedPrincess . (London:Ted Tree Smart/Flame Publishing,2004), , a beautiful and virtuous character., abeautifulandvirtuous Thisfullbody Animation Art: From AnimationArt: Pencil toPixel,theHistory Masks: TheirMeaningandFunction Masks: TheirMeaningandFunction Puppetry andPuppets:Anillustratedworld Gertie theDinosaur Gertie 8.1 ThesisIllustrations 1898. , 1914. , 1898. (London: (London: 223 8. List of Works ฀page฀47.฀Figure฀17.฀Winsor฀McCay,฀dir.฀ •฀ ฀page฀52.฀Figure฀20.฀Max฀Fleischer฀and฀Betty฀Boop,฀undated.฀Publicity฀photo •฀ page฀49.฀Figure฀19.฀Bob฀Hoskins฀and฀Jessica฀Rabbit฀in฀Robert฀Zemeckis฀/฀ •฀ page฀49.฀Figure฀18.฀Virginia฀Davis฀in฀Walt฀Disney,฀dir.฀•฀ ฀page฀59.฀Figure฀24.฀A฀Javanese฀ •฀ page฀57.฀Figure฀23.฀Theatre฀de฀Complicité฀physical฀theatre฀workshop฀directed฀ •฀ page฀53.฀Figure฀22.฀Virtual฀Reality฀Lab,฀ •฀ ฀page฀52.฀Figure฀21.฀Max฀Fleischer’s฀Rotoscope฀patent,฀1917. •฀ ฀page฀59.฀Figure฀25.฀A฀ •฀ 276. Richard dir. Williams, 20. Reproduced from JerryBeck,ed. 1924. Promotional poster. 14. Reproduced from JerryBeck,ed. Reproduced from JerryBeck,ed. survey Reproduced from EileenBlumenthal, Photographs byBirgitta Hosea. National Gallery, London. by AnnabelArden PgDipCharacterAnimation,2007. forCentralSaintMartins cessed 02/02/2011). Reproduced from http://vrlab.epfl.ch/research/LO_locomotin_engine.html (ac- 17. Reproduced from JerryBeck,ed. html?groupId=127466 (accessed02/02/2011). Reproduced from http://fangroups.tcm.com/groups/details. graph. of Cartoon, AnimeandCGI of Cartoon, AnimeandCGI of Cartoon, AnimeandCGI of Cartoon, rani from the AnimeandCGI of Cartoon, (London:ThamesandHudson,2005),251. Mahabharata. Who FramedRogerRabbit?, wayang wong . (London:Ted Tree Smart/Flame Publishing,2004), . (London:Ted Tree Smart/Flame Publishing,2004), . (London:Ted Tree Smart/Flame Publishing,2004), . (London:Ted Tree Smart/Flame Publishing,2004), wayang kulit Animation Art: From AnimationArt: PenciltoPixel,theHistory From AnimationArt: PenciltoPixel,theHistory From AnimationArt: PenciltoPixel,theHistory Animation Art: From AnimationArt: PenciltoPixel,theHistory (‘human puppet’) playing the part ofArjuna (‘humanpuppet’)playingthepart Puppetry andPuppets:Anillustratedworld Motion DataAcquisition Gertie theDinosaur Gertie 8.1 ThesisIllustrations puppetofthecharacterDewas- 1988. Alice’s SpookyAdventure , 1914. . - 224 , 8. List of Works ฀page฀64.฀Figure฀28.฀Flashback฀animation฀with฀mermaid฀from฀Faulty฀Optic’s฀ •฀ ฀page฀81.฀Figure฀31.฀Oskar฀Schlemmer,฀designs฀for฀body฀puppets฀for฀his฀ •฀ Chapter 2.7 page฀64.฀Figure฀27.฀The฀nameless฀central฀character฀in฀Faulty฀Optic’s฀ •฀ page฀63.฀Figure฀26.฀Faulty฀Optic,฀ •฀ Chapter 2.4 ฀page฀81.฀Figure฀32.฀Oskar฀Schlemmer,฀igurine฀from฀ •฀ ฀page฀69.฀Figure฀30.฀Multiple฀ •฀ Chapter 2.5 ฀page฀64.฀Figure฀29.฀An฀ominous฀igure฀from฀the฀underworld฀necropolis฀from฀ •฀ survey survey Reproduced withpermissionofFaultyOptic. whose mermaidlovehadbeenmysteriouslymurdered withscissors,2003. Reproduced from EileenBlumenthal, of tinypuppetsbeingmanipulated. features afloodedbasementonthelowerlevel.Thetoplevelislivevideofeed Reproduced from EileenBlumenthal, actors mimickingpuppets. from the survey Reproduced from EileenBlumenthal, survey Reproduced from EileenBlumenthal, pets in Soiled Reproduced withpermissionofFaultyOptic. Faulty Optic’s Reproduced withpermissionofFaultyOptic. Reproduced from Wollen, reconstruction 1967/93. ral Cabinet, , 2003. (London:ThamesandHudson,2005),72. (London:ThamesandHudson,2005),106. (London:ThamesandHudson,2005),250. (London:ThamesandHudson,2005),114. The Teachings forWomen Mahabharata c1922. Soiled

, 2003. , circa derivedfrom 1920.Thisstyleofperformance live Addressing theCentury:100Years &Fashion ofArt bunraku , 1994,NationalBunrakuTheatre, Osaka,Japan. Bubbly Beds Puppetry andPuppets:Anillustratedworld Puppetry andPuppets:Anillustratedworld Puppetry andPuppets:Anillustratedworld Puppetry andPuppets:Anillustratedworld puppeteersdressed inblackoperatepup- 8.1 ThesisIllustrations , 1996. The three-tiered stage The Triadic Ballet, Soiled 1922, Figu- , 225 . 8. List of Works ฀page฀82.฀Figure฀33.฀Tadeusz฀Kantor,฀dir.฀•฀ ฀page฀113.฀Figure฀47.฀Paul฀Kaiser฀and฀Shelley฀Eshkar,฀visuals,฀Merce฀Cunning •฀ Chapter 3.5 page฀101.฀Figure฀36.฀Anthony฀McCall,฀ •฀ page฀96.฀Figure฀35.฀Paul฀Sermon,฀ •฀ ฀page฀96.฀Figure฀34.฀Paul฀Sermon,฀ •฀ Chapter 3.3 ฀page฀109.฀Figure฀43.฀Howard฀Read฀with฀ •฀ Chapter 3.4 page฀102.฀Figures฀37฀-฀42.฀Madonna฀and฀the฀Gorrillaz฀at฀the฀48th฀Grammy฀ •฀ ฀page฀111.฀Figures฀45฀-฀6.฀Howard฀Read฀with฀Little฀Howard฀at฀the฀Royal฀Variety฀ •฀ page฀109.฀Figure฀44.฀Howard฀Read฀with฀ •฀ Reproduced from AnthonyMcCall,“AnthonyMcCall.”In Museum. Reproduced from EileenBlumenthal, 2009). YouTube, http://www.youtube.com/watch?v=bngu7p0_gks (accessedMay2, paulsermon/liberate/images/photo07.jpg, (accessed13/09/2101). Reproduced from PaulSermon’s website,http://creativetechnology.salford.ac.uk/ Saints Gardens. paulsermon/liberate/images/screen01.jpg, (accessed13/09/2101). Reproduced from PaulSermon’s website,http://creativetechnology.salford.ac.uk/ Second Life. Screen grabsreproduced from theMusionshowreel. Awards, 2006. Gallery inassociationwithLundHumphries,2004),173. edited byLaurent Mannoni,Werner Nekes,andMarinaWarner. (London:Hayward survey Screen grabsreproduced from December2007. Performance, Reproduced withpermissionofHoward Read. Reproduced withpermissionofHoward Read. (London:ThamesandHudson,2005),213. Little Howard ontheRoyalVariety Performance Liberate Your Avatar Liberate Your Avatar Puppetry andPuppets:Anillustratedworld Line DescribingaCone Little Howard Little Howard The DeadClass 8.1 ThesisIllustrations , undated.Publicityphoto. , undated.Publicityphoto. Eyes, LiesandIllusions , 2007. View from, 2007.View All from, 2007.View , 1975. , 2002,Whitney 226 - , , 8. List of Works ฀page฀117.฀Figures฀49฀&฀50.฀ •฀ ฀page฀118.฀Figures฀52฀&฀53.฀ •฀ ฀page฀117.฀Figure฀51.฀ •฀ ฀page฀121.฀Figures฀63฀-฀65.฀ •฀ page฀120.฀Figure฀59฀-฀62.฀ •฀ page฀119.฀Figures฀56฀-฀8.฀ •฀ ฀page฀116.฀Figure฀48.฀ •฀ ฀page฀119.฀Figures฀54฀&฀55.฀ •฀ Reproduced from http://www.quartetproject.net (accessed05/02/2011). dancer, 2007. Reproduced from EileenBlumenthal, tralia, 2009). Project: areal-time systemsdevelopment. performance ham, choreography, tralia, 2009). Project: areal-time systemsdevelopment. performance tralia, 2009). Project: areal-time systemsdevelopment. performance Screen grabsreproduced from Margie Medlin, Hospital, London. rig through herphysicalmovements,2007.TheGreat Hall,StBartholomew’s tralia, 2009). Project: areal-time systemsdevelopment. performance survey Screen grabsreproduced from Margie Medlin, robotic camera,2007.TheGreat Hall,StBartholomew’s Hospital,London. Screen grabsreproduced from Margie Medlin, St Bartholomew’s Hospital,London. tively control different aspectsofthecharactersmovement,2007.TheGreat Hall, Reproduced withpermissionofMargie Medlin. dancer,movements ofthevirtual 2007. Screen grabsreproduced from Margie Medlin, lomew’s Hospital,London. animated characterthrough playingherviolin,2007.TheGreat Hall,StBartho- (London:ThamesandHudson,2005),247. Biped Quartet Quartet , 1999. Quartet Quartet Quartet Quartet Quartet Quartet , technical set-up of acoustic instrument to virtual , technicalset-upofacousticinstrumenttovirtual promotional flyer, 2007.ICA,London. , CarleeMellowcontrols therobotic camera , CarleeMellowcontrols theviewthrough the , images of the virtual dancer,, imagesofthevirtual 2007. , connectionsbetweenaudioinputsand creates movement inan , StevieWishart , Stevie Wishart andCarleeMellowcollec- , StevieWishart Puppetry andPuppets:Anillustratedworld 8.1 ThesisIllustrations Morphing Physiology. TheQuartet Morphing Physiology. TheQuartet Morphing Physiology. TheQuartet Morphing Physiology. TheQuartet DVDPAL. (London;Aus- DVDPAL. (London;Aus- DVDPAL. (London;Aus- DVD PAL. (London;Aus- 227 8. List of Works ฀page฀136.฀Figure฀71.฀Genetic฀Moo,฀ •฀ page฀133.฀Figure฀70.฀Genetic฀Moo,฀Becoming฀Starish฀interaction฀low฀chart,฀ •฀ page฀130.฀Figure฀66.฀Genetic฀Moo,฀ •฀ Chapter 4.2 ฀page฀167.฀Figure฀74.฀Birgitta฀Hosea,฀performance฀diagram,฀2010. •฀ Chapter 5 page฀138.฀Figure฀73.฀Birgitta฀Hosea,฀illustration฀of฀Scholl฀and฀Tremoulet’s฀ •฀ Chapter 4.3 page฀136.฀Figure฀72.฀Genetic฀Moo,฀ •฀ page฀133.฀Figure฀69.฀Genetic฀Moo,฀ •฀ page฀132.฀Figure฀68.฀The฀Starish฀character’s฀range฀of฀states,฀2006. •฀ page฀131.฀Figure฀67.฀Genetic฀Moo,฀the฀Starish฀character,฀2006. •฀ Reproduced withpermissionofGeneticMoo. 2006. Reproduced withpermission ofGeneticMoo. Reproduced withpermission ofMargie Medlin. ‘Launching’ motion,2011. Reproduced withpermissionofGeneticMoo. tion. Reproduced withpermissionofGeneticMoo. tion. Reproduced withpermission ofGeneticMoo. Reproduced withpermission ofGeneticMoo. Reproduced withpermission ofGeneticMoo. tion. Becoming Starfish Becoming Starfish Becoming Starfish Becoming Starfish 8.1 ThesisIllustrations , 2006.AudienceInterac- , 2006.AudienceInterac- , 2006.AudienceInterac- technical set-up,2006. 228 8. List of Works ฀page฀172.฀Plate฀1.฀Stills฀from฀the฀ •฀ Chapter 2.2 (All workbyBirgitta Hosea) StillImages 8.2 Portfolio ฀page฀174.฀Plate฀3.฀Stills฀from฀ •฀ ฀page฀176.฀Plate฀5.฀ •฀ page฀175.฀Plate฀4.฀Stills฀from฀ •฀ ฀page฀182.฀Plate฀12.฀ •฀ page฀181.฀Plate฀11.฀ •฀ page฀181.฀Plate฀10.฀ •฀ Chapter 3.2 page฀180.฀Plate฀9.฀ •฀ page฀179.฀Plate฀8.฀ •฀ page฀178.฀Plate฀7.฀ •฀ page฀177.฀Plate฀6.฀ •฀ page฀173.฀Plate฀2.฀ •฀ Chapter 2.6 installation. 2008. Screen captures from DVvideo.LethabyGallery, London. 2008. Screen captures from DVvideo.LethabyGallery, London. audience view during live performance. UpStage090909Festival. audience viewduringliveperformance. UpStage090909Festival. audience viewduringliveperformance. UpStage090909Festival. audience viewduringliveperformance. by Birgitta HoseaandMaureen Baas.Forkbeard FantasyStudios,Devon. City, NewYork. ofMix23QueerExperimental FilmFestival,TheaterfortheNew Shown aspart ofICan’tEvenThinkStraight,LLGFF,as part BFI,London. 07,Hidden,London. ofActArt Mobile phonephotographs.Shownaspart mance infilmfestival. captures from DVvideoofpublicinterventions.CentralLondon. Exorcism Out There intheDark Out There intheDark Out There intheDark Out There intheDark Out There intheDark At HomewithMrandMrsSmith At HomewithMrandMrsSmith, At HomewithMrandMrsSmith , 2009. Live performance withprojected, 2009.Liveperformance animation Out There intheDark Out There intheDark Dog Betty 8.2 Portfolio StillImages 8.2 Portfolio , 2008.Technical setupforfullgallery live peepshow performance, 2010. livepeepshowperformance, 2010.Shown livestageperformance, 2009. livepeepshowperformance, , 2009.Technical setupforliveperfor- series of short films,2007.Screen seriesofshort live gallery performance, livegalleryperformance, livegalleryperformance, , 2009.Screen capture of , 2009.Screen capture of 2009. Screen capture of 229 8. List of Works ฀page฀182.฀Plate฀13.฀ •฀ ฀page฀186.฀Plate฀18.฀ •฀ ฀page฀189.฀Plate฀21.฀Drawn฀Together฀(Maryclare฀Foá,฀Jane฀Grisewood,฀Birgitta฀ •฀ page฀188.฀Plate฀20.฀Improvised฀performance฀that฀featured฀the฀projection฀of฀ •฀ page฀187.฀Plate฀19.฀Improvised฀performance฀that฀featured฀the฀projection฀of฀ •฀ Chapter 3.5 page฀185.฀Plate฀17.฀ •฀ Chapter 3.3 page฀184.฀Plate฀16.฀ •฀ page฀183.฀Plate฀15.฀ •฀ page฀183.฀Plate฀14.฀ •฀ ฀page฀191.฀Plate฀23.฀ •฀ Chapter 4.4 page฀190.฀Plate฀22.฀Drawn฀Together฀(Maryclare฀Foá,฀Jane฀Grisewood,฀Birgitta฀ •฀ ฀page฀192.฀Plate฀25.฀L •฀ page฀192.฀Plate฀24.฀ •฀ inside aholographicprojection FairandShunt,London. atKineticaArt Hosea andCaraliMcCall), and ContemporaryDance,London. LondonInterdisciplinary Workshop, SchoolofBallet Arts Performance Rambert spontaneous animateddrawingsmadewiththeTagtool, 2010.Universityofthe and ContemporaryDance,London. LondonInterdisciplinary Workshop, SchoolofBallet Arts Performance Rambert spontaneous animateddrawingsmadewiththeTagtool, 2010.Universityofthe 2007. Doll,arduino board, lightsensitivesensor, red laserpointer, small motor. UpStage090909Festival. audience viewduringliveperformance. UpStage090909Festival. audience viewduringliveperformance. UpStage090909Festival. audience viewduringliveperformance. UpStage090909Festival. audience viewduringliveperformance. don CollegeofArt. Hosea andCaraliMcCall), don CollegeofArt. Lunch withMissSmith Lunch withMissSmith Hula Doll White Lines At HomewithMrandMrsSmith At HomewithMrandMrsSmith At HomewithMrandMrsSmith At HomewithMrandMrsSmith unch withMissSmith ARC: Idrawforyou ARC: Idrawforyou, , amotoriseddollthatreacts tohumanproximity, , 2010.Stillimagesfrom liveperformances 8.2 Portfolio StillImages 8.2 Portfolio , tabledressing, 2010. , mainroom set-up,2010. , ground plan,2010. , 2010.Centre forDrawing,Wimble- 2010.Centre forDrawing,Wimble- , 2009.Screen capture of , 2009.Screen capture of , 2009.Screen capture of , 2009.Screen capture of 230 8. List of Works ฀page฀193.฀Plate฀26.฀ •฀ ฀page฀202.฀Plate฀35.฀Visitors฀to฀ •฀ ฀page฀201.฀Plate฀34.฀Miss฀Smith฀in฀ •฀ page฀200.฀Plate฀33.฀Becoming฀Miss฀Smith,฀2010.฀Touch฀screen฀mobile฀phone฀ •฀ page฀199.฀Plate฀32.฀Becoming฀Miss฀Smith,฀2010.฀ •฀ page฀198.฀Plate฀31.฀Miss฀Smith฀character฀design,฀2010.฀Touch฀screen฀mobile฀ •฀ page฀197.฀Plate฀30.฀Miss฀Smith฀character฀design,฀2010.฀Touch฀screen฀mobile฀ •฀ page฀196.฀Plate฀29.฀Miss฀Smith฀character฀development฀sketches,฀2010.฀Touch฀ •฀ ฀page฀195.฀Plate฀28.฀ •฀ page฀194.฀Plate฀27.฀ •฀ Cinematic Arts Gallery,Cinematic Arts USC,LosAngeles. drawings. phone drawings. phone drawings. screen mobilephonedrawings. pants onTVmonitorandkeyboard controlled digitalcharacter, 2010. where thecharacterwascontrolled from, 2010. Lunch withMissSmith Lunch withMissSmith Lunch withMissSmith Lunch withMissSmith Chatter 8.2 Portfolio StillImages 8.2 Portfolio , 2010.Installationofanimationloops, , keyboard 2010. instructionschart, , behindthescenesviewofpartici- , behindthescenesinkitchen inorder ofarrival,2010. 231 8. List of Works •฀ Chapter 2.6 All workbyBirgitta Hosea 8.3 DVDContents •฀ Chapter 3.3 2.2. Overviewofanimatedcharacterloops.Flashanimation,20secs. UpStage environment, 13mins38secs. 2.1. Screen capture oftheactors’view duringdress rehearsal. Flashanimationin •฀ Gallery,mins 26secs.CinematicArts UniversityofSouthernCalifornia,LosAngeles. •฀ Chapter 3.2 Lethaby Gallery, CSM,London. audience participation, 18mins16secs. audience participation, •฀ Chapter 4.4 Awards,MAMA HolographicArts London.HDvideo,2mins33secs. made alltherecordings. Forthisreason there are occasionalblipsintheaudiotrack. ThecamerausedtodocumenttheinstallationwasfoundhaveintermittentfaultsafterIhad 2 USC andCentralSaintMartins. Features animatedloopsbyBirgitta Hoseaaswellcontributionsfrom andStudentsat Staff 1 DVDChapter1. DVD Chapter3. DVDChapter5. DVDChapter2. DVDChapter4. 5.3. Bodymirroring -headinhands 5.2. Bodymirroring -nodding 5.1. Bodymirroring -lookingatwatch LunchwithMissSmith, White Lines Chatter At HomewithMrandMrsSmith, Out There intheDark,

installation , 2009.Holographicprojection filmatthe ofshort 2 1 , 2010.HDVvideodocumentation,4

2010. DVvideoofinstallationwith 2008. DVvideo,6mins21secs. 8.3 DVDContents 2009. 232 8. List of Works •฀ Appendix IV. transcripts CaseStudyinterview •฀ •฀ scripts Appendix I.B DVD ROMextracontent •฀ ...... GM_interview_transcript.pdf •฀ Appendix II.E •฀ duringUpstage090909Festival text chatparticipation Genetic Moo(NicolaSchauermanandTimPickup)09/07/2009 Howard Read03/09/2010...... All transcripts...... Quartet Faulty Optic(LizWalker) 17/09/2010...... All performances...... Mr&MrSmithLog.pdf 5.4. Bodymirroring -waving (Margie Medlin)11/05/2010...... At HomewithMrandMrsSmith Lunch With MissSmith Lunch With participant interview tran- interview participant 8.3 DVDContents All_Miss_Smith_interviews.pdf MM_interview_transcript.pdf HR_interview_transcript.pdf LW_interview_transcript.pdf logofaudience ...... 233 Appendices M Mrs SmithActions I.B Operatorinstructions:keyboard shortcuts comes becausetheovenhasburnedanddinnerisruined. and theFireChiefarrives.Heisinitiallypolitelyreceiveduntilwerealisethathe series ofincreasinglyridiculousdrinksandsnacks.Thedoorbellgoesagain where theycomefromandwhattheweatherislike.Shethenoffersthema audience directly,asiftheywerethevisitors.Sheasksthemquestionsabout that thevisitorsarelate.Thedoorbellgoes.MrsSmithaddressesonline I.A Outline Appendix I. Appendices /a 0-Manicloopthrough alloftheabove /a 8-Dances/jiggles /a 7-Walks right /a 6-Walks left sardines/a 5-Offers andgreen eggs oysters /a 4-Offers cocktail /a 3-Offers /a 2-Looksforward, standingstill,talking /a 1-Sideviewstandingstill,talking Appendix I.AtHome withMrandMrsSmithScript neither listening to nor acknowledging one another. Mr Smith complains r andMrsSmithareawaitingvisitors.Theytalkinnonsensicaldialogue, At HomewithMrandMrsSmith Script 234 Appendices ‘bold’). following textwillbedisplayedasemphatic(thisisreinforced bymakingthetext ‘think bubble’(thisisreinforced byformattingthetextinitalics).‘!’indicatesthat Stage environment. ‘:’indicatesthatthefollowingpieceoftextwillbedepicted ina The textisspacedouttoaddpausesinthesyntheticvoicesthatare usedinUp- I.C Operationalscript Fire ChiefActions Mr SmithActions /a 3-hosingdownthestage /a 2-Talking, helmetoff /a 1-Standing,blinking /a 0-Manicloopthrough alloftheabove /a 4-Reads,butisagitated /a 3-Reads,absorbedinpaper /a 2-Looksovertopofnewspaper, listening /a 1-Talks, newspaperonlap,payingattention Appendix I.AtHome withMrandMrsSmithScript 235 Appendices Act MRS SMITH MR SMITH MRS SMITH: MR SMITH: MRS SMITH: MR SMITH: MRS SMITH: Oystersare anacquired taste.Orangesare nottheonlyfruit. MR SMITH: MRS SMITH: Appendix I.AtHome withMrandMrsSmithScript Iamafraiddisturbingyou. Ianticipatethearrivalofourdearguestswithgreat delight. paystoadvertise wasmymistake. becauseexpensbecomepencils. pense. /a2 altered. tionagainsthiscousin forlibel. Let’s puttheplanintoactionwithoutdelay. Hebrought anac You didn’tactonmyadvice.Iwillasmediatorifyoulike. We satchattingabouteverythingandnothingforhalfanhour. You can’tafford towastethechance.Iadviseyoubecareful. : Hewasboundtoadmitit.Admittedly, that’s aloss.Italways Ifyoustayatthebesthotels,itaddsconsiderablytoex /a 3 : Ladiesare notadmitted.Imustadmityouare wrong. Iadmitit Thetimehascomeforaction!ofthetrainbeen (Change from tolivingroom openingcurtain setbackdrop). I amafraiditisgoingtorain.youwillbedisappointed. (Moves right) /a 1 1 :which isbetterthantoadversitiseofcourse. 236 Appendices Act MRS SMITH MR SMITH MRS SMITH MR SMITH MRS SMITH MR SMITH: MRS SMITH: MR SMITH: Appendix I.AtHome withMrandMrsSmithScript Martin, withsuch great Martin, delight! There are fillingstationsallovertheplace. /a2 (/a6 Ooooh!Itisthedoorbell!Whocould thatbeatthedoor? :Iadore mywife bellitisbecausethere issomeoneatthedoor. Listen!There isaringatthedoor. Whenyouheararingatthe (Doorbellrings:SOUNDFX:DOOR BELL(severaltimes)) /a2 dosolookforward toyourwittybanter. Ohhello!Haveyouallloggedinnow?Hownicetoseeyou!We (SOUNDFX:DOORUNLOCK,SOUNDCREAK) There isalottobesaidbothforandagainstthislineofargument. : We oughttodrawupanagreement andgetthesignatures. : /a2 How, IDOanticipatethearrivalofourdearguests,MrandMrs : Sausagesdonotagree withme.Theroses are allovernow. : Ooooh!Itisthedoorbell!Whocouldthatbeatdoor? :

OOh!Ooh!Thedoorbellisringing! /a 3 2 walks left) 237 Appendices MRS SMITH MR SMITH: MRS SMITH: MRS SMITH: MR SMITH: Appendix I.AtHome withMrandMrsSmithScript /a1 forfourhours.Whyhaveyoucomesolate? athome.You are asalog! stiff there isaringatthedoor, itisbecausesomeonethere. Ishould say everybodydoesthesamething,andthateverytime WhenIgotovisitsomeoneringthebellsothatcangetin. theplain? forsomerain.DidyouknowthattheraininSpainfallsmainly on yousomething medicinal.Itlooksasifweare Permitmetooffer in from thatwaspossibletosuffer sucharare affliction! Howfascinating!Your commentsare mostamusing.Ididnotknow dearaudience.Doyouhaveanyminorailmentstoday? !Repeatingmyself.Howare you? Isanyonethere? Icanseeyou,youknow!You cantypeinthechat window. /a2 haveanyminorailments today? Howare you?Iaskedyouhoware, dearaudience.Doyou /a8 bearanyweighton my leftfoot. ingyouforfourhours.Whyhavecomesolate? We havehadnothingtoeatallday. We havebeenexpectingyou

: Welcome to our humble abode, dear Mr and Mrs Martin. Dofeel Welcome toourhumbleabode,dearMrandMrsMartin. OOH!AHEM!MightIenquire astoyourhealth?Icannot :At timesIgrow soembarrassedwithmyilltempered spouse !We havehadnothingtoeatallday. We havebeenexpect Iaskedyouhoware, . 238 Appendices MR SMITH: /a2(movingcentre) MRS SMITH:

Appendix I.AtHome withMrandMrsSmithScript /a3 weather, though. from! Andwhere youare intheworld! !Pleasetypeintheweatherconditionswhere youcome eeyou,youknow!Yes you,dearaudience. Howistheweatherwhere youcomefrom? !Isanyonethere? Ican here witharefreshing breeze andlashingsofrain. Howistheweatherwhere youcomefrom? It’s beautifullycool /a3 /a8 badlyneedanewcarpet. Thatwastoobad!Thingshavegonefrom badtoworse.We Thisisbecause:Ihavegotabadcold.Theham’s gonebad. /a2 isnot ready yet! dinner Iamawfullysorry, thedinnerisn’tready yet.OhDear!The /a4 are thepearlinmyoyster! Would youcare foranoyster?Oystersare anacquired taste.You /a3 Orginandiron bru? screwdriver? Ahem.Ithinkwemustallhavecolds.Itisnotcold ohv nte ccti. o bu ulrg ra Do haveanothercocktail.Howaboutabullfrog? Ora :or knot 239 Appendices (/a6 (Doorbellrings: SOUNDFX:DOORBELL(severaltimes)) MRS SMITH: MR SMITH Appendix I.AtHome withMrandMrsSmithScript /a3 anothercocktail! There amountofcorruptioninallpolitics.Dohave isacertain goingupandinprice. industryhasgrown enormously. To becandid,vegetablesare Allthepotatoesin shophavebeenboughtup.Thecanning /a8 thepatiencetobother withitanymore. Iamawfullysorry the dinnerisn’tready yet.Ijustdonothave Andcocktails… tinnedfish?Indeed,myownkeyboard isquitecovered incanapé. Whatdoyoumean?Icannottemptwithgreen eggsand /a5 /a3 canapé?Thisoneisfrom mycookingheroine, FannyCraddock! yet.Would youcare foranothercocktail?Orexotic Dearguest,Iamreally awfullysorrythatthedinnerisn’tready Theweather’s sodisagreeably changeable. It’s blowytoday, isn’tit?Ithinkthisstormwillsoonblowover. thearrivalofanyunexpectedguests! wouldringonthedoorbellatthislatehour?Ididnotanticipate

OOH! My goodness!! Who on earth couldthatBEthistime? Who OOH!Mygoodness!! Whoonearth :Who isit?Ithoughtthepostmenwere onstriketoday? walk tomiddleofstage ) 240 Appendices Go a,MsSih Ad o R o? Yulo si MRS SMITH: Goodday, MrsSmith!And,howAREyou?You lookasif FIRE CHIEF: MRS SMITH: Appendix I.AtHome withMrandMrsSmithScript SOUNDFX:DOORCREAK) (SOUNDFX:DOORUNLOCK, Howare Do take YOU,anyway?Domakeyourselfcomfortable! /a2 Orperhapspreferably, anoyster, THAT, waspurchased in Whitstable! /a4 /a3 comingWhitstable? cocktail?Oranoyster whichwasrecently purchased inupand Would youcare ofadelicious,freshly topartake squeezed /a8 badlyneedanewcarpet. Thatwastoobad! Things havegonefrom badtoworse.We Thisisbecause:Ihave gotabadcold.Theham’s gonebad. dinnerisnotready yet. sorrythatIhaveinvited mydearguestshere for dinnerandthe indisposed!Dotell me allaboutit! somethinghadratherupsetyou?Ihopethatyouare not yoou? /a1 Howkindofyoutoenquire aftermywellbeing!Iamjustawfully Oohitisafireman! Gooddaymydeeeear. Howaaaare (Mrs Smithwalksbackwards totherightofstage) 241 Appendices MRS SMITH: FIRE CHIEF: MRS SMITH: FIRE CHIEF: MRS SMITH: FIRE CHIEF: FIRE CHIEF: MRS SMITH: FIRE CHIEF Appendix I.AtHome withMrandMrsSmithScript insecondmarriage married ayounggirl maternalunclehad a father-in-lawwhosepaternalgrandfatherhad liesnotinbooks,but inlife.ShallIbegin? matter. I really cameonduty. Inaprofessional capacity. Imustadmitthatcamehere toseeyouonaquite,different /a2 timetositdown. gladtoremove myhelmetforawhile,butIreally donothavethe yourhelmetandsitdownamoment!Makeyourselfquiteat off home. gallantgovernesswhowasnoother than whomhefellinloveandby hehadasonwhomarried OOH!Ihavejustremembered themotivationbehindmyvisithere today. wasprobably oneofthegrand-daughters ofanengineerwhodied young adoptivefatherhadanauntwhospokefluentSpanish,and whosebrother hadmet,duringoneofhisvoyages,agirlwith : Mybrother-in-law hadonhisfathersside,afirstcousinwhose storiesfirst?Truth Would youlikemetotellsomeentertaining Iammustapologise,dearlady, butIcannotstayforlong.willbe thenieceofanobscure leadingseamanintheBritishNavy, whose Yes please,dear. You havemyundividedattention.Iamlistening.Fire away!

:I wonderifIcouldpersuadehimtostayfordinner? :How handsomethisfireman is….Ilikeamaninuniform…. 242 Appendices MR SMITH: !Thingsare goingfrom badtoworse!Icannotbelieve thisill MRS SMITH: Act MRS SMITH: MRS SMITH: MR SMITH: MRS SMITH: MR SMITH: FIRE CHIEF: FIRE CHIEF: MRS SMITH: Appendix I.AtHome withMrandMrsSmithScript fortune! /a3 notanemergency! belongingsbehind!You mustevacuatethebuilding!Thisis washeddownwithaseriesofdelicious cocktales. We hadsoup,fish,coldham,mashedpotatoes,andeggs.All /a1 gracious. !Your ovenisonfire! Thedinnerhasburnttoacrisp! withrelish andgusto. We mealthisevening,whichwaseaten hadanimmenselyhearty fortune! thebuilding!Thisisnotanemergency! Theeveningwasagreat socialsuccess. enjoyedtheirdinner immensely. IdobelievethatMrandMrsMartin Andsoatnineo’clockweallatedinner. Ourhostesswasmost !Pleaseleaveyourpersonalbelongingsbehind!You mustevacuate

I repeat forgreater impact!Pleaseleaveyourpersonal !I

!A EIOU,AU. :WHAT? WHAT? WHAT! :I’m off tocheckontheoven.Everything’s:I’m off ruined! !Things are goingfrom badtoworse!Icannotbelieve thisill 3 243

Appendices MRS SMITH: withinspirationfrom devisedanddesignedbyBirgitta Hosea byBirgitta performed Hosea&MattWicks MrandMrsSmith AtHomeWith read: [CREDITS SOUNDEFFECT-APPLAUSE.) DROPallcharacters.CHANGETOCLOSINGCURTAIN. (RESETFIRECHIEFto/a1 Appendix I.AtHome withMrandMrsSmithScript Byeeebyeee!Keeesskeeessdahlings! Clickonthislinkhere todonatemoneykeepthefestivalgoing. UpStagewhohavecreated thisOpenSource project. !Ibidyoufarewell andasafejourneyhome! (1958)and Wytakyu edlk otaktemrelu epea Whythank-you.We’d liketothankthemarvellouspeopleat Idiomatic EnglishSentences The BaldPrimaDonna byLaycock&Allwood(1946)] by EugeneIonescu 244 Appendices . Whatisinmyway? 8. She wantspopularityandromance. WhatdoIwant? 7. to letthemknow. A bitlonely, andwantstoimpress shequitefanciestheVisitor them,butistooshy Whatisherrelationship totheVisitor? 6. cleaned up. fore. Afterwards shefelthumiliatedandsorryforherself.Shehadacupoftea Before thelunchshewascleaningandcooking.Shedidshoppingdaybe- Whatjusthappenedandwhatwillhappennext? 5. flowers. second-hand furniture withafewcontemporaryaccessories-lampshade,curtains, Her environment isneatandtidy. Shecan’tafford tohaveeverythingnewsoshehas Whatsurrounds me? 4. She isinabedsitboarding houseinLondon. Where amI? 3. It issetatlunchtime,inthewinter, inthemid‘70s. WhenamI? 2. reading andexercising atweekends. and shewasbrought uptospeakintextbookEnglish.Forleisure shelikescleaning, way. Sheisthe daughterofMrandMrsSmith,whoare non-nativeEnglish speakers, rich, shetriestobewithitandmakethebestofherselfinathreadbare kind of youthful, butafewlinesare toshow. starting Neitherconventionallybeautifulnor age,probablyShe isawomanofcertain actuallyonlyinherlate40s,stillrelatively WhoamI? 1. Appendix II.AMissSmithProfile Appendix II.AMissSmith Profile 245 Appendices She’ll tryagaintoconnectwithsomeoneelse. WhatwillIdotogetwhatwant? 9. She triestoohard and sabotagesherself. Appendix II.AMissSmith Profile 246 Appendices M 4. Good,good…. 3. 2. 1. I.B.ii Script lunch anymoreandaskstheVisitortoleave. pretty rancidflavouranyway-lemoncurdandsardine.Shecan’t go onwiththe long fortheothergueststoarrivethatsouffléflops.Itturnsoutitwasa and humiliated,becauseshewasaimingtobeaperfecthostess.Ittakesso turn upandshefeelsunabletoservelunchuntiltheydo.Sheembarrassed him andmakesnervousconversationwhilewaitingfortheothers.Theydon’t her culinaryexcellence.Thefirstguest,theVisitor,arrives.Shewelcomesher/ as itrequiresimpeccabletimingandshesowantstoimpressherguestswith II.B.i Backstory Appendix II.B 6. 5. to cometoday? You are somewhatearly. Theotherguestshaven’tarrivedyet.Didyou havefar cousin, neighbour, dog,cat,goldfish? How are you? And howisyourmother, yourfather, yourbrother, yoursister, aunt, Please takeaseat.There’s noneedtostandonceremony. Hello. Iampleasedtoseeyou.wassogladthatyoucouldacceptmyinvitation. ing? lovely spelloffineweatherinMarch. Whatwastheweatherlikeoutsidethismorn I dofindtheclimatehere hascomerathersoonthisyear. trying.Winter We hada you’d think.Thenumber55busisnotalwaysavailableat peaktimes. The oddnumbersare ontheothersideofroad. It’s towalkthan muchfurther live, again? for acharminglunchpartyfour.Sheisquitestressedabouthersoufflé iss Smithhasgonetoagreatdealoftroubleinvitethreeguestsover [pause] Appendix II.BLunch withMissSmithScript Did youheartheweatherforecast today? Lunch withMissSmith [pause] This isaratherout-of-thewayplace.Where isitthatyou Script 247 - Appendices 20. Yes,20. yes.. I shalllistentothecommentaryonradio. 19. 18. 17. 16. That doorbellmakesyounearlyjumpoutofyourskin. 15. Maybe, perhapsnot. 14. I amnotsure whentheotherswillarrive.Isthatthematdoor? 13. I begyourpardon. 12. Ummm, ummm(listening) 11. 10. 9. Excuseme.Imustgoandcheckontheoven. 8. yousayitagain? Whatdidyousay?Will 7. you doinglater? You doenjoyagoodtalk!We couldgoonjawing forhalftheevening! What are the lineatreading otherpeople’s letters. My stacksofnotepaper are runninglow. Igenerallybuyabookofstamps.draw I am expectinga letter by the next post. I wrote two letters but tore them both up. till today? that wewillnotbewaitinglongfortheotherstoarrive.Whattimecanyoustay My watchhasstopped.I’mafraidputtingyoutoalotoftrouble. Idohope strong senseofsmell. atmosphere. Doyoulikemyflowers?Don’ttheysmelllovely?Ihaven’tavery lunch. Idothinkthatflowerarrangementsonthetablehelptocreate acordial Due totheinclementweather, Idecidedagainstsandwichesinfavourofacooked speciality soufflé.It’s mysignature dish.Are youfondofeggs? a successfulsoufflé.Ididitquitebymyself.dosolookforward toyoutryingmy timingandthecorrect Perfect oventemperatureto perfection. are essentialfor [reappears backon-screen] Appendix II.BLunch withMissSmithScript The souffléneedsalittlemore timebefore itiscooked [disappears off-screen] 248 Appendices 32. 31. 30. 29. 28. 27. 26. 25. Not really.24. 23. Do youspeakanylanguagesotherthanEnglish? 22. 21. Oh dear, Iamwrong sideoutthismorning.Imusthavegotofbedonthe house atpresent. When theothersarrive,Iwillbringoutrefreshments. I’msingle-handedinthe heavy strainonourfinancialresources, doesn’tit? There’s theexpensetothinkof.Pricesare showingarisingtendency. Itputsa est price.Myhairjustwon’tstayput.Imustmakemyovercoat doanotherwinter. bows. However, Iamnotsatisfiedwithmyhairdresser, eventhoughIpaythehigh My dress to wear a little thin at the el has worn very well although it is starting buy it? You have a bright smile for everybody. Your outfit is very fetching. Where did you Whooping coughismostinfectious. suspect allformsofpropaganda. Ishouldadviseyoutostickyourprinciples. Seeing isbelieving.Ifyoureyesare bad,yououghttohavethemseento.I what tosay. We mustallputourshoulderstothewheel. Who toldyouthat?There isnosubstituteforcommonsense.Isimplydon’tknow clean yourkitchen? that athorough polishingmayonlybeneededonceamonth.Howoftendoyou long-lastingfinishso a healthykitchen.Moderntypesofpolishgiveparticularly ThereThis morningIbleachedallthekitchensurfaces. isnoroom forgermsin do youliketoenjoyyourself? and put some life into it.I steal afew hours now and then for agood book. What main thingistomakeyourselfunderstood.WhenyouspeakEnglishmusttry Correct pronunciation doesn’tmattersomuchwhenyou’re travellingabroad: the the table.Theyare extremely lowincalories. Please helpyourselftosnackswhileyouwait.There are ofnicethingson allsorts Appendix II.BLunch withMissSmithScript 249 - - Appendices 44. What apityyoudidn’tbringyourviolin! 43. I alwaysmakeapointofgettingsomeexercise atweekends. 42. 41. 40. 39. 38. 37. 36. 35. What isthematter?Apennyforyourthoughts? 34. 33. perhaps it was a slip on my part? perhaps itwasasliponmypart? got to?Ihaven’ttheslightestdoubtthatitmusthaveslipped theirmemory. Or I must apologise for keeping you waiting, my dear. Where have the other guests The urge toexpress oneselfinsomeformofcreative activityisstrongest inyouth. demand anymore. It’s justamatterofhabitwhetheryouprefer totea. coffee A word forword translationisalwaysbad.Nobody believesinlawsofsupplyand go outthesedays.Canyougivemeanysuggestionsfornewreading matter? What withonethingandanother, Ijusthaven’thadtimetogouptown.rarely better toarrivetooearlythanlate.Timeandtidewaitfornoman. somewhat concernedaboutthetimingoftheirarrival.It’s nolaughingmatter. Itis Between ourselves,Imusttellyouthattheotherguestsare ratherlate.Iam fund ofamusingstories! secret ofmakingguestshappyliesinthepersonalityhostess. And,ina The mainthingistoenjoyyourself.Whatevertheoccasion,Idobelievethat works wonders.Doyouhaveanycleaningtipstoshare? Don’t worryeverythingwillturnoutright.Ihaveanewstainremover, whichreally to beaglutofplumsthisyear. spur ofthemoment.Hopeforbestandprepare fortheworst.There seems Isn’t thatarathersweepingstatement?Thebestspeechesare oftenmadeonthe maintenance. vacuum cleaners, hair driers, food mixers, electric drills and so on needvery little Don’t scratch that spot-it’ll only getworse. The smallelectric motors usedin wrong side.Ilayawakeuntilitbegantogrow light.Didyousleepwell? Appendix II.BLunch withMissSmithScript 250 Appendices 46. 45. 47. 48. Excuse me. I think I smell something off. Excuse me.Ithinksmellsomethingoff. round. my tongue.Quitesuddenly, Myhead’s I’mfeelingabitoutofsorts. justspinning I can’tquitethinkofwhattodointheeventtheirnon-arrival.It’s onthetipof [Reappears on-screen] sodding foodisruined…Thatcrappyoven… cleaning. You withonlyoneguest.OHMYGOD!Nowthe can’thavealunchparty bastards saidthey’dcomeontimeandI’vespentthewholedaycooking bye. landlady willsurely provide youwithsomeotherrefreshments. Goodbye.Bye... ways. Comeandseemesomeothertime.Iwishyouasafejourneyhome.The Well, haveenjoyedtalkingwithyou.We’ve ofthe Icertainly cometotheparting tosuggest? further you askthelandladyifshehasanyalternativerefreshments. Haveyouanything later date.Iamafraidthatwillhavetosuggestyouleave. plan upoursleeve.Ijustcan’tgoonwiththis.suggestthatwepostponeuntila yet. We shall have to take stock of the situation. We shall need to have another the food is not fit for human consumption. The other guests have not even arrived curd andsardine isadeliciouscombination.It’s mysignature dish,butI’mafraid gone wrong. Iwassolookingforward tolemoncurd andsardine soufflé.Lemon off-screen]

Appendix II.BLunch withMissSmithScript What averyawkward situation!I’minabitofhole!Thosebloody Oh dear. I’m afraid thatmysoufflé isanawfulflop!Ithasall [Disappears off-screen. Voice from 251 Appendices Miss Smith informationsheetfor Appendix II.CParticipant 7. 6. 5 3. 4. Participant Information Participant participate it is important for you to understand w understand to you for important is it participate pro research a in part take to invited being are You interactive an installation by Birgitta Hosea LunchWith Miss Smith, 1. information. anythin if Ask wish. you if others with it discuss the read to time take Please involve. will it what 2. . Will my participation be kept confidential? bekept participation my Will .

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255 Appendices “TV 2.0:AnimationReadership/AuthorshipontheInternet.” ———. “DrawnTogether: Collaborative Performance.” Foá, Maryclare, JaneGrisewood,Birgitta Hosea, and CaraliMcCall. “ARC: IDraw for III.B Academicjournals(joint-authored) “Performativity, character.” post-animationandhowIbecameacartoon Translated “Drawing Animation.” III.A Academicjournals(single-authored) Appendix III.Listofpublications “Drawing Animation.”Paperpresented attheAnimationEvolution:The22ndAnnual “Digital Synaesthesia.”Paperpresented attheMoves08 Conference, Manchester, “Dog Betty.” paper presented Performative at the Here Tomorrow conference, Lethaby “Digital Drawing.”Paperpresented attheComputerSpaceconference, Sofia, andperformativity.”“Character animation,performance Paperpresented atthe III.C Conference papers(unpublished) Research 2010. http://www.studio-international.co.uk/drawing/ARC10.asp. You.” DesignandArchitecture. Arts, Visual into CzechbyKaterinaSurmanová. Deviation Conference, UniversityoftheWest ofEngland,Bristol,2010. “Out There paperpresented intheDark.”Performative attheAnimation Society ofAnimationStudiesConference, Edinburgh 2010. CollegeofArt, 2008. Gallery, 2007. CentralSaintMartins, Bulgaria, 2009. Siobhan DaviesDanceStudio,London,2009. LondonInterdisciplinary Conference,University oftheArts Performance tracey/frag/drawnto.html. reviewed OnlineJournalforAnimationHistoryandTheory (September 2009). http://www.lboro.ac.uk/departments/ac/ Animation: aninterdisciplinary journal Appendix III.Listof publications Illuminace Studio International Tracey, ContemporaryDrawing 9(2009). 5,no.3(2010). Animation Studies-Peer- 3(2008). , January29, 256 Appendices 2011 III.D Exhibitions “TV 2.0:animationreadership /authorshipontheinternet.”Paperpresented atthe “Photosonic synthesis:hearingcolour/seeingsound.”Paperpresented atthe “Photosonic synthesis:hearingcolour/seeingsound.”Paperpresented atthe “Photosonic synthesis:hearingcolour, seeingsound,visualisinggesture.” Paper Character.” andAnimation,orHowIBecame aCartoon “Performativity Paperpresented 2010 2011 2010 2010 Chatter Lunch withMissSmith SKYPE vs.NightSky. Chatter Popular Culture SocietyConference, SanFrancisco,USA,2008. Technarte 2006Conference, Bilbao,Spain,2006. London Metropolitan University, 2006. Mindplay Conference, Group forResearch inInteractiveMedia(GRIM), University ofLondon,2008. 24thAnnualConference,(Computers andtheHistoryofArt) Birkbeck, presented andPerception attheSeeing…Vision inaDigitalCulture, CHArt at theHere Tomorrow Conference, London,2007. CentralSaintMartins, Out There intheDark. LosAngeles,USA. Animation Department, Gallery,Cinematic Arts and UniversityofSouthern California,DigitalArts andstudentsatUSCCSM. tions byherselfandcontributedtostaff London. andstudentsfromtions byherselfandstaff USCandCSM.BarSequence, Martins, London;PapayGyro Festival,PapayWestray,Martins, NightsArts Orkney. Thursday17thFebruary.and CaraliMcCall),performance CentralSaint SKYPE (DrawnTogether: Maryclare Foá,JaneGrisewood,Birgitta Hosea London. USA. 11-14th November. Mix23QueerExperimental FilmFestival,NewYork, . SoloinstallationbyBirgitta anima Hoseafeaturingaseriesof short . SoloinstallationbyBirgitta anima Hoseafeaturingaseriesofshort Appendix III.Listof publications Collaborative telematic performance drawingvia Collaborativetelematicperformance Live art withprojected daily Liveart animation,performed . Solo site specific installation. Mansfield Court, . Solositespecificinstallation.MansfieldCourt, 257 - - Appendices 2010 2010 2010 2009 2009 2009 2010 2009 2009 2009 projection, daily 12-15th May. performed projection. At HomewithMrandMrsSmith Out There intheDark. White Lines. Untitled. ARC: Idrawforyou. February, P3,MaryleboneRoad,London,NW3. White Lines Even ThinkStraight Out There intheDark. White Lines. Untitled. reen on16thJuly. Baas),performed Forkbeard Fantasystudios,Devon. Exorcism. 7:ChildrenArt oftheDamned nology Fayre, SladeSchoolofFineArt. and McCall).November27-December12th. Centre CollegeofArt. forDrawing,Wimbledon Thursday21stJan.The Foá, Grisewood,HoseaandMcCall),performance London Bridge. Lancaster. Canada; Culture Centre Pancevo,Serbia Fraser UniversityinSurrey, BC,Canada;Syneme,UniversityofCalgary, andTechnology,APO33, Nantes,France;SchoolofInteractiveArt Simon Atelierhaus Graz,Austria;MAD@SmalleHavenEindhoven,Netherlands; Gallery, Wellington, HuttCityLibraries,NewZealand;SCHAUMBAD-Freies Cafe,Munich,Germany;NewDowse emuseum, Oslo,Norway;Muffatwerk Stage 090909Festival.EclecticTech Carnival,Istanbul,Turkey; Norsk Tel repeated byMattWicks), 3timesonSeptember9th.Up co-performance Old Cinema,RegentStreet, London. Collaborativedrawings(DrawnTogether: Foá,Grisewood,Hosea Holographic prototypes, 29thApril. Live art withprojected byMau Liveart animation(withco-performance Holographic Serendipity, . Live performance drawing within an animated holographic . Live performance Holographic projection film. of short Live performance drawing within an animated holographic Live performance programme, LLGFF, BritishFilmInstitiute. Appendix III.Listof publications Collaborative performance drawing(DrawnTogether: Collaborativeperformance Live art withprojected Liveart animation,28thMarch. Live art withprojected Liveart animation,6thNovember. , Hidden,Vauxhall, London. . Online live animated performance (with . Onlineliveanimatedperformance Kinetica Art Fair,Kinetica Art daily4-6th performed Holographic Serendipity, Musion Showcase Joined Up, Musion Gala Awards The Vault Gallery, , SladeTech Shunt, I Can’t 258 , the Act - - - - Appendices 07 Here Tomorrow UALResearch Residency, LethabyGallery, CentralSaint 2007 Here Tomorrow UALResearch Residency, LethabyGallery, CentralSaint 2008 Jointartist-in-residency withDrawnTogether (Maryclare Foá,Jane 2009 Forkbeard FantasyResidentialSummerWorkshop, Forkbeard Fantasy 2009 Jointartist-in-residency withDrawnTogether (Maryclare Foá,Jane 2010 UALInterdisciplinary ResidentialWorkshop, Collaborative Performance 2010 Artist-in-residency, andAnimation, ofDigitalArt JohnD.HenchDepartment 2010 UALInterdisciplinary ResidentialWorkshop, CollaborativePerformance 2011 III.E Residencies 2008 2009 2007 Martins, London Martins, London Martins, London. Project CollegeofArt, Space,Wimbledon Grisewood, Birgitta HoseaandCaraliMcCall)attheCentre forDrawing Studios, Devon. London. Project CollegeofArt, Space,Wimbledon Grisewood, Birgitta HoseaandCaraliMcCall)attheCentre forDrawing School,London. Ballet Rambert University ofSouthernCalifornia,LosAngeles,USA. School,London. Ballet Rambert Dog Betty. Out There intheDark. March. TheCentre CollegeofArt. forDrawing,Wimbledon Together: Thursday 5th Foá, Grisewood, Hosea and McCall), performance line, process, echo, repeat August. London. line,process, echo, repeat, Aseriesofpublicinterventions,July. Holborn,London. Appendix III.Listof publications Live art withprojected 12th Liveart animation,performance 2 . Collaborative performance drawing (Drawn Collaborative performance LethabyGallery, CentralSaintMartins, 259