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Re-Framing the Theatrical

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Re-Framing the Theatrical Re-Framing the Theatrical By the same author PERFORMING WOMEN: Stand-Ups, Strumpets and itinerants DEVISING THEATRE THE POTENTIALS OF SPACES Re-Framing the Theatrical Interdisciplinary Landscapes for Performance Alison Oddey © Alison Oddey 2007 Foreword © Colin Wiggins 2007 Softcover reprint of the hardcover 1st edition 2007 978-0-230-52465-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted * save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London Wl T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2007 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-35708-6 ISBN 978-0-230-59072-4 (eBook) DOl 10.1057/9780230590724 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Oddey, Alison, 1954- Re-framing the theatrical: interdisciplinary landscapes for performance / Alison Oddey. p.cm. Includes bibliographical references and index. ISBN 978-1-349-35708-6 (cloth) 1. Performing arts-Philosophy. I. Title. PN1584.0332007 791.01-dc22 2006051571 10 9 8 7 6 5 4 3 2 16 15 14 13 12 11 10 09 08 07 Transferred to Digital Printing 2011 Desiderata (Found in Old Saint Paul's Church, Baltimore; dated 1692) (Go placidly amid the noise and haste, and remember what peace there may be in silence . keep peace with your soul . strive to be happy.' Contents List of Figures viii Foreword - Colin Wiggins x Acknowledgements xii 1 Re-Framing 1 2 Director-Creator-Collaborator: Devising and Technology 22 3 'It's About Cross-Over': Cross-Art Performance 42 4 Re-thinking the Theatrical Frame: The Opera Director, Video Artist, and Visual Artists 60 5 Landscapes for Performance: The Geographies of Deborah Warner 86 6 Angels, Soul and Rebirth 105 7 Narratives of the City, Interpretations of Director, Reflections of Spectator 133 8 The Art of Sound: Auditory Directions 162 9 Performing Silence 193 Notes 219 Bibliography 236 Index 239 vii List of Figures 1.1 Angel of the North, Antony Gormley, 2005. Photo: cwbusiness 19 2.1 The PawerBaak, directed by Deborah Warner. Photo: Neil Libbert 25 2.2 Measure for Measure, directed by Simon McBurney. Photo: Neil Libbert 36 3.1 Dark Night of the Soul, Ana Maria Pacheco, 1999. Photo: © The National Gallery, London 55 3.2 Embankment, Rachel White read. Photo: cwbusiness 57 4.1 Damned and Divine, directed by Lee Blakeley, 'Angels in Heaven', 2000. Photo: Emma M. Wee 67 4.2 Five Angels for the Millennium, Bill Viola, 2001, Video/sound installation, i. 'Departing Angel'. Photo: Kira Perov 72 4.3 Dilstan Grove, no. 1, Heather Ackroyd and Daniel Harvey, and Graeme Miller, 2003. Photo: Heather Ackroyd & Dan Harvey 78 4.4 Dilstan Grove, no. 2, Heather Ackroyd and Daniel Harvey, and Graeme Miller, 2003. Photo: Heather Ackroyd & Dan Harvey 80 5.1 Angel Project, Perth Skyline, directed by Deborah Warner, 2000. Photo: Alison Oddey 101 6.1 Angel Project, Bankwest, directed by Deborah Warner, 2000. Photo: Alison Oddey 112 6.2 Angel Project, Wesley Church, directed by Deborah Warner, 2000. Photo: Alison Oddey 115 6.3 Angels in Wesley Church, Perth, Australia, Angel Project, directed by Deborah Warner, 2000. Photo: Richard Woldendorp 131 7.1 Angel Project, Pox Hospital, directed by Deborah Warner, 2003. Photo: Alison Oddey 138 7.2 Angel Project, New York Skyline, directed by Deborah Warner, 2003. Photo: Alison Oddey 139 7.3 Angel Project, Nun in Times Square, directed by Deborah Warner, 2003. Photo: Alison Oddey 145 7.4 Angel Project, Lilies in Salt, directed by Deborah Warner, 2003. Photo: cwbusiness 147 viii List of Figures ix 7.5 Angel Project, Chrysler Building, directed by Deborah Warner, 2003. Photo: Alison Oddey 149 8.1 Linked, Graeme Miller, Map. Photo: cwbusiness 168 8.2 Linked, Graeme Miller, Road going North. Photo: cwbusiness 170 8.3 Linked, Graeme Miller, Transmitter. Photo: cwbusiness 171 8.4 Linked, Graeme Miller, Linear Park. Photo: cwbusiness 175 8.5 Linked, Graeme Miller, Mission Church, Leytonstone. Photo: cwbusiness 179 8.6 Linked, Graeme Miller, Deadend and Footbridge. Photo: cwbusiness 181 9.1 Grass photograph inspired by Siberecht- View of Nottingham from the East, Heather Ackroyd and Daniel Harvey, 2004. Photo: Heather Ackroyd & Dan Harvey 204 Foreword Our instinct to classify means that we create boundaries between different artistic mediums. The same goes for our responses to wherever we happen to be. I am in an art gallery therefore this must be art. I am in a theatre therefore this must be a performance. I am sitting on the bus therefore this must be real life. For artists however, art and life are the same. There are no boundaries. Ana Maria Pacheco was born in Brazil. In her 30s she came to England to study at the Slade and began her career as sculptor, painter and printmaker. Dark Night of the Soul is a sculpture formed of various ingredients. Nineteen figures, some life-size and some over life-size, are made from wood, with clothes represented through carving and painting. Black discs of polished onyx become wide, staring eyes. Little teeth, obtained from a dental sup­ plier, sit eerily in open mouths. Some of the heads are studded with nails that can be seen as hair, in the manner of an African tribal fetish. These characters are arranged around a central kneeling figure. He is naked, apart from a shiny black hood. He is tightly bound to a large wooden pole with a rope, stained with dried blood, (it was obtained from an abattoir), that is coarse and thick. Most alarmingly though, his body is pierced by eight silvered arrows. There are two further materials used by the artist. Neither is traditionally thought of as sculptural. The first is light. The room is completely blacked­ out. Spotlights of different intensity are carefully directed and focussed. The victim-figure is starkly lit, his arrows casting cruel shadows. The sur­ rounding figures are illuminated to differing degrees, some harshly, some softly. A few remain in the dark, seen only by the residual light that spills over from the brighter areas. The installation becomes a theatrical per­ formance, a wooden play frozen in time. But still the work is not complete. The inert logs have yet to come alive. They can only do this with the addition of the final ingredient to this remarkable work. Spectators. Real, living people. You and me. Pacheco encourages us to move amongst the figures and to investigate them in our own time. Suddenly, one of the figures in our peripheral vision moves. Not, of course, a sculpture, but another viewer who has been stand­ ing still for long enough in the half-light, to surprise us with an unex­ pected action. Whenever Dark Night of the Soul has been exhibited, this confusion between the real and represented has become a common x Foreword xi experience for audiences. We nervously laugh with strangers when the illusion is broken. This prompts an intriguing thought. If we have been mistaking other people for the carved figures, then those people will have been doing exactly the same with us. Unknowingly, we have become manipulated by the artist into actually becoming part of the artwork, whilst believing ourselves to be looking at it. So what is our role? Are we active or passive? Are we complicit in inflict­ ing this terrible torture on the victim-figure? We look at him from a pos­ ition of safety, amongst the crowd of wooden watchers. In a crowd, we can lose our individuality and turn away from responsibility. The carved fig­ ures affect our thoughts and emotions. The sinister atmosphere becomes threatening and unnerving. No need to worry though, this is only a sculpture. I am in an art gallery therefore this must be art. But of course, we are still in the real world. For Ana Maria Pacheco, art and life are the same. There are no boundaries. Colin Wiggins Deputy Head of Education National Gallery, London Acknowledgements Thanks to all those who have financed or funded this research project: The International Federation of Theatre Research; The Society for Theatre Research; The School of Drama, Film and Visual Arts Research Committee, the Colyer-Fergusson Award, University of Kent at Canterbury; Bernard Holmes, Christabella Charitable Trust; Christine Wills; Nicholas Goulder; Loughborough University; The Arts and Humanities Research Council, who have supported me with funding from the AHRC Research Leave scheme. This book would not have been possible without the artists who have contributed their time and energy to interviews: Deborah Warner, Jean Kalman, Tom Pye, Clayton Jauncey, Graeme Miller, Heather Ackroyd, Daniel Harvey, Lee Blakeley, Marianne Weems, Simon McBurney, Naomi Frederick, and Talking Birds.
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