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Regenerating the Live: the Archive As the Genesis of a Performance

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Regenerating the Live: the Archive As the Genesis of a Performance Title Regenerating the Live: The Archive as the Genesis of a Performance Practice Type Thesis URL http://ualresearchonline.arts.ac.uk/8990/ Date 2015 Citation Dunne, Joseph (2015) Regenerating the Live: The Archive as the Genesis of a Performance Practice. PhD thesis, University of Lincoln. Creators Dunne, Joseph Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author REGENERATING THE LIVE: THE ARCHIVE AS THE GENESIS OF A PERFORMANCE PRACTICE Joseph Dunne A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy July 2015 ! ! ! !∀#∃%&∋()∗(+(∃,−. My first thanks go to Claire Warden and Andrew Westerside for their unwavering support and guidance during the course of my PhD, and to Mark O’Thomas who encouraged me to apply to Lincoln in the first place. Thank you to Ashleigh Griffiths, Cara Davies and Mads Floor Anderson in Tracing the Pathway for continuing to inspire me, especially during difficult times. Thank you to Jenny Minton and Anton Kardasis for your excellent vocals. Thank you to Bill Lowe for helping me to set up the website, and thank you to Aaron James for his outstanding editing skills and creativity. Thank you to the drama department at the University of East London, with particular thanks to Dominic Hingorani and Conan Lawrence for their mentorship. Thank you also to Mary Smith and Libby Homer for allowing me to experiment with theatre archives during the CEDAR project, when the seeds of this thesis were sown. Thank you to Jorge Ramos and everyone in ZU-UK for collaborating with me on the Audience as Document project. Thank you to the staff at Peckham Library for giving me the flexibility and time to complete this project. And to all of those dedicated professionals who have committed their careers to maintaining quality public services in the teeth of opposition: the fight continues.! Thank you to all of my friends who I have the privilege of sharing my life with, who have accompanied me at different points throughout my studies, and who are always with me, no matter what distance separates us. ! My final thanks go to my Mum, Lin, who taught me what true dedication means, and for always gently guiding me back on the right path. ! And to my partner, Hannah, for her honesty, her limitless patience, her creativity and intelligence, for instilling in me a strong desire to share knowledge with others, and for teaching me it’s not wrong to ask for help. I could not have completed this thesis without her. ! ∀! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! #! ! !/−,01∀,! Live performance lacks the durability of art practices such as photography, film and painting, and so definitions of ‘live’ acts have traditionally been formulated in terms of ‘transience’ and ‘disappearance’. In this context the archive and archival documents are often described as the antithesis of performance’s ontology. An archive’s primary function is to preserve material for future, undetermined uses, whereas a live event is temporary and cannot endure as ‘itself’ outside of the temporal-spatial zone it unfolds in before an audience. Yet archival documents are intimately imbricated in the creation of live acts. This can be seen in all performance practices, from written plays in the dramatic theatre, to the assemblage of materials used in devised performance, to the ways sites are framed as sources of historical knowledge in performance re- enactments. By examining the role documents play in performance practice I argue that archival materials have the potential to act as the genesis for live acts.! The archive’s generative function makes performance a potential method of historical research, where documents can help engender an interactive reciprocity between spectators and the past. The archival mode of performance practice I advocate in this thesis requires spectators to become participants inside the performance sphere, just as historians participate in the writing of historical discourses in the archive. ! There are several practice-as-research components to my project. These include the Audience as Document events and two workshops. The primary practice-as-research event is a participatory site-specific performance Voices from the Village. The Olympic Village in Stratford, East London, is framed as a type of authoritative historical document that works as a meta-narrative of London’s past. The Olympic Legacy anchors the memories of East London’s residents to a time they are encouraged to re-live in their everyday lives. At the centre of contemporary urban regeneration projects is a firm conviction that the future can be built in the here-and- now. Participants are guided through the Village and by two tour guides who attempt to inculcate them into the Legacy Project – a new type of citizenry based upon the neoliberal hegemony. In the third part participants explore what would happen if the neighbouring Hackney Wick estate was ‘regenerated’ in the future. My practice ! ∃! ! examines how documents in performance can act as interlocutors between a site’s past(s) and a participant’s ‘live’ experience. The enduring form of digital documents creates a manifold afterlife for performance on the Web, which is the home of an evolving network of people who connect to each other through their re-interpretation of the Olympic Legacy. I am arguing that the life of a performance does not end over a fixed duration, but is instead a dialogic process with a multitude of access points. ! ! %! ! ! 2%∃,(∃,−. !∀#∃%&∋(#!%∀) ∗∗! &+,−../−0−12/3)&4256/17−7+413)−18)9/640:;)! #</)#0+−8)4=)7</)>+?/) ∗≅) ) #</)!18/Α7/8)(+7:))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) ΒΧ) ) ! #</)9/640:)4=)∆Ε−2/)−18)7</)%Ε:6.+2)>/Φ−2:) ΒΓ) ! ! 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Κ!Λ∋∃ϑ)Θ⊥∗Β)∀−?+Φ−7/)∴40,<4.)+1)7</)%Ε:6.+2)∆−0) ∗∗Χ) ) ! ! Κ!Λ∋∃ϑ)Θ⊥∗Χ)Ι)64156/17)74)7</)ΒΖ∗Β)%Ε:6.+2)Λ−6/,)) ∗∗≅) ! ! Κ!Λ∋∃ϑ)≅⊥∗.#</)−57<40)0/−8+1Φ)2(&∋&∗!84,−!.9&!:#.#4&)) ∗∗]) ! (! ! ) ) ! )! ! ) ! ! ! ! ! ‘He who controls the past controls the future. He who controls the present controls the past’! (George Orwell, Nineteen-Eighty Four)! ! ! ‘Doctor: You can’t archive something that hasn’t happened yet!! TARDIS: You can’t.’! (Doctor Who, The Doctor’s Wife) ! ∗! ! . ! ∀+! ! 8∃,0%)7∀,4%∃. Disturbing the leaves of history is about what might happen as much as what has already passed (Christie et al., 2006, p.ix). This thesis examines how the philosophy and practices of the archive can become the basis of contemporary performance practice. I begin by outlining the salient points of this debate to identify how the live medium is typically defined as the antithesis of documentation. This leads me into a discussion of how, over the past fifteen years, a number of practitioners and scholars have challenged definitions of live performance’s ontology that are based upon the exigencies of ‘disappearance’. I argue that these definitions do not adequately account for the importance of the enduring materials that are generated from live performances, nor do they sufficiently address how staged enactments remain as memories in the minds of the audience.
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