This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. Contemporary Music Network Arts Council OF CREAT BRITAIN JAZZ. TOURS Autumn 1982 · PIANO FORTY STEVE LACEY SEXTET - KEITH TIPPETT - four great improvising pianists Steve Lacey soprano saxophone, Steve Potts alto JAKI BYARD (USA) saxophone, Irene Aebi voice, violin, cello; Jean­ ALEX VON SCHUPPENBACH (W. Germany) Jacques Avenel bass, Bobby Few piano, Oliver IRENE SCHWEIZER (Switzerland) Johnson drums. HOWARD RILEY (UK) November October Sun 7 LONDON, Round House 7.30pm Sun 24 LONDON, Round House 7.30pm Thu 11 LEICESTER, Phoenix Arts 8pm Thu 28 MANCHESTER, Band on the Wall 9pm Fri 12 LLANTWIT MAJOR, St Donat's Arts Centre Fri 29 BIRMINGHAM, B'ham and Midland Institute 8pm 7.45pm Sat 13 BRISTOL , Arnolfini 8pm November Sun 14 SHEFFIELD , Crucible Theatre 7.30pm Mon 1 COVENTRY, WarwickU .ArtsCentre7.45pm Tue 16 NEWCASTLE, Corner House Hotel, Heaton Tue 2 LEICESTER , Phoenix Arts 8pm 8pm Thu 4 LLANTWIT MAJOR, St Donat's Arts Centre Wed 17 DARLINGTON, Arts Centre 8pm 8pm Thu 18 MANCHESTER , Band on the Wall 9pm Fri 19 LEEDS, Playhouse 11.15pm Sat 20 KENDAL, Brewery Arts Centre 8.30pm Further information on both tours from the venues or Sun 21 BIRMINGHAM , Strathallan Hotel 8pm from the Music Department, Arts Council of G.B. Mon 22 COVENTRY , Warwick U. Arts Centre 9 Long Acre, London WC2 Tel: 01-379 7717 7.30pm THE BYAMSHAW DIPLOMA WHITE CtGHT is a full-time 3-year course in fine 57 FILMERROAD LONDON SW6 TELEPHONE 017313291 art which is acceptedat University levelfor post-graduatestudies. Theatre lighting design, con trol, Short-term, extra mural and equipment and hire post-graduate/post-diploma Aud io-Visual presentat ion, coursesalso available. design a nd projection Entry to all coursesis by work Equipment maintenan ce and refurbishing and interview. Over 70% of UK students lr:istallat ion, distribution systems, specia l effects receiveLocal Authority grants. Apply nowfor a prospectusto OUR PRICES ARE COMPET ITI V E - Byam Shaw Schoolof Art PLEASE RING US FOR A PRI CE LIST OR QUOTE 70 CampdenStreet, LondonWB 7EN (or'phone 01-727 4 711- 24 hour service). This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. ERFORMANCE... ____ MAGAZIN.....E __ _ The Review of Live Art Performance Magazine 14 Peto Place, London NW1 01 935 2714 Editors Rob La Frenais Lynn ·MacRitchie Luke Dixon Associate Editors Pete Shelton Margurite McLaughlin Bruce Bayley Music Paul Burwell David lllic Contributors John Roberts Roger Ely Phil Hyde Gillian Clark Diana Simmonds Andrea Hill Liz Stolls Neil Hornick Meira Eilash Guest Contributors Roberta Graham Catherine Elwes Lindsay Cooper Chrissie lies David Derby John Ashford Production Rob La Frenais Distribution Full Time Distribution J F Ansell Moore Harness Typesetting Windhorse Photosetters Printing Vineyard Press, Colchester Features Publisher Perfonnance Magazine Ltd Is Performance Art Dead? . 4 Copyright @ 1982 Neo-Naturism . 5 ISSN no 0144 5901 Italian Performance . 8 Art On The Run ...................................... .. 14 SUBSIDIS ED BY THE A Firm Undertaking ............ ... ...... .................. 21 Arts c.ouncil New York Live ... -... .. ............ .. ....... .... .. .. 25 OF GREAT BRITAI N Interview Cathy Bereberian ... ........... .. .. .. .. .. .... ... 10 Performance Magazine welcomes Reviews articles , or ideas for articles, from new contributors. Please remember that we London Roundup, Hood Fair, Sonia Knox, Cameron and only print material on radical or experi­ Miller, Selwa Rajaa, Marty St James/ Anne Wilson ............. .. 27 mental areas in visual art, theatre and music, which we pull together under the Books general label of Perfonnance . Real life Final Academy/Hereto Go . ............ ... ....... .. .. .. .. 31 too; a perfonnance can happen anywhere. We 'd also like your correspondence on Listings . ....... ...... .... ........... ..... ... ..... 32 anything in our pages. Feedback means support! This issue of Performance Magazine has been reproduced as part of Performance Magazine Online (2017) with the permission of the surviving Editors, Rob La Frenais and Gray Watson. Copyright remains with Performance Magazine and/or the original creators of the work. The project has been produced in association with the Live Art Development Agency. ~ Is Performance Art Dead? The Mid.land Group's third Performance brates the posit.ive, "genuinely creative et Jes anartistes" which was published in Art Platform will this year be incorp­ artists", whose work attempts to deal with 1969. orated into an expanded four days of "the basic problems of contemporary "Displaying of excrements, all sorts of events covering a wide range of art and human existence" . He mentions in this clownish or fanciful gestures, even all the performances that come under the context (alongside Grotowski' s 'Theatre of noisy Happenings which provided the general description of Performance Art. Sources' ) - "all the street theatres setting for the Paris May 1968, are Since holding a position at the fore­ drawing chance spectators into a spectacle according to H . Parmelin, a manifestation front of experimentation in the visual arts o( vital resolutions". Characteristics of of artistic independence as fruitless and in the 1960's the concept of performance performance art in Europe that most spurious as Vasarely's geometric-and­ art has had to expand and diversify to identify it with a 'dead' neo avant-garde illusionistic tricks or N. Schoffer' s light cover an ever widening range of experi­ (according to Morawski's definitions ) are, towers. Creative self-consciousness of the mental performers from all areas of per­ I think, both parasitic and narcissistic . neo avant -garde - concludes the writer - formance including theatre, music, Performances that are essentially no more is either a reflection of the attitudes preval­ dance, popular entertainment and now than masochistic self-punishment echo the ent in a society of plenty and fever on the video. experiments of the earliest Dada-ists, (man threshold of the post-industrial era ... or a The thin lines of distinction drawn throws himself from window) or attempt, 'magic lantern' or a childish tomfoolery in between these various areas and the in­ shockingly, to reproduce 'real' suffering which is expressed the impotence of creasing evidence of a crossing over without comment. Deliberate obfuscation individuals unfit for a bureaucratic world between art and popular culture have (through endless repeuuon, obscure and their longing for another social both served to raise many questions theoreticising, trivial references ) also reality ." about the nature of performance in exists in contemporary performanc e art . In other words, the avant-garde, the neo relation to all the art forms. If , and it is hypothesis, we accept avant-garde, had both become impotent From surreal cabaret comedy to New Morawski's definition of genuinely new spectacle by the end of the sixties, and the Wave video to 'performing' sculpture and inventive contemporary art 'new' art of performance will surely 'die' these four days of events will provide an "creative self-consciousness" - an art that along with them, unless ... exhilirating mix of performances that will concerns itself with individual creativity in Unle ss in our performances we demon­ serve to illustrate just some of the ground everyone, with the concerns of people in strate some of Morawski 's 'creative self­ covered by performance artists today. their daily lives, with the basic probl ems of consciousness ' in its new, hopeful form . The following is a document submitted human existence, then we should ask To do thi s, I believe, we should examine by Roland Miller, who will be leading the whether these qualities or not in perfor ­ our own selves, our circumstances, and the Performance Platform discussion this mance art, as we know and use it. problems of our existence; and our perfor­ year. One of the most useful distin ction s I mance work should deal with this . We The Polish author, Stefan Morawski, know can be drawn between art/theatr e/ should make this examination not as has written recently of a "creative self­ film/literature thai is spectacle and that exceptional individuals, not as 'artists', but consciousness" which may be regarded as which is a form os scenario for the altera­ as sexed human beings, living in post­ art. He describes a "considerable section of tion of the status quo. industrial , class and race divided Europe, the world's neo avant-garde " which is This distinction was drawn, perhaps not threatened by immediate nuclear destruc­ characterised either by a parasitic con­ originally, by Lee Baxendale in an Ameri­ tion. And out of this, should come our sciousness - "marauders and rnannerists can collection of essays entitled 'Radical living artform. who have joined the pioneers of (this) Perspectives in the Arts' , published in the Roland Miller movement and imitate them piteously