Art is a creation of the creator’s limitations.
Sol LeWitt
According to Lord Polonius which statement is true?
1. Sol LeWitt wore heels.
2. Sol LeWitt was short.
3. Sol LeWitt had small feet.
please explain your reasoning
i, Ronnie
Quoting Finley
I wonder if the lead vocalist of L7 was quoting Karen Finley –
from Wikipedia –
During their performance at the 1992 English Reading Festival, the band experienced “technical difficulties with their audio equipment” and were forced to stall their set. Quickly, the rowdy crowd grew restless and began throwing mud onto the stage. In protest, lead vocalist Donita Sparks removed her tampon on-stage and threw it into the crowd yelling “Eat my used tampon, fuckers!”. Sparks has remained unapologetic about the incident.[1] This has been referred to as one of the “most unsanitary pieces of rock memorabilia in history”.[9]
The Erasmus Intensive
The Erasmus Intensive
The Erasmus Intensive invervates misuses of sensitive manures taken from unassertive mines. In the ruminative sense the interim suaveness gained by the universe’s inmates of this masseur intensive reinvents a misuse of me, a intrusiveness.
What is your reading of this paragraph?
Emphases in Performance
A fashion show is a dance performance with an emphasis on costume.
A concert is a dance performance with an emphasis on sound.
A construction site is a dance performance with emphasis on set.
A play is a dance performance with emphasis on text.
A fireworks show is a dance performance with emphasis on lighting.
A dance performance is a dance performance with emphasis on movement.
A presidential debate is a dance performance with emphasis on performer.
(everything is dance)
Assume Perfection
I would guess that every famous painter, dancer, author, i.e., artist was derided as terrible by some authority or the authorities of his or her time when s/he first came on the scene. Â “Howl” by Ginsberg was thought to be horrible and people tried to have it banned. Â Van Gogh never sold a painting in his lifetime. Elvis was hated by parents for his pelvis. The Rite of Spring caused a riot.Â
But now all of those artists are famous, lauded, canonized. Â The works haven’t changed. Â The context changed.
Therefore, all work is worthy of praise and deserves to be canonized.
All that needs to be changed is the context.
Therefore, do whatever the %#!?+ you want and wait for everyone else to catch up.
And assume it’s perfect!
Tweet
The port de bras and the coolest new lift you just learned in contact class have just as much to with contact improvisation as the fist bump. All three can be done while in contact and while improvising.
All three events are small bit of choreography that can be done inside the larger frame of contact improvisation.
Choreo, Memory, and Impro
The more closely linked an event is to memory, the more choreographed it is. The less connected to memory, the more improvised it is.
Framing Statement
Framing Statement
for
The Range of Acceptable Outcomes
I call this piece a performance lecture because I have definite ideas that I want to transmit. I call this piece a lecture performance because I want to inundate the audience with a lot of information, maybe some new ideas and I am not so concerned that people follow and remember every word, but more that the words wash over them, giving them more of a feeling than an idea.
In a more strictly movement oriented dance performance every movement is seen and rarely can the viewers remember or recreate the movements. The constant onslaught of movement in such a performance overwhelms me, not allowing me to digest each individual movement, leaving me with a general sense of the movement quality. The movements in relationship create a feeling, a sense, an experience that stays with the viewer. The individual parts are lost but the whole is understood.
In this piece, The Range of Acceptable Outcomes, I am trying to create a similar experience with the words. Not all of the ideas will be remembered or immediately understood, but hopefully a feeling, a sense, an experience will stay with the viewers.
Using the concepts of the Three Stages of Creation and The Six Performance Elements, I aimed to create an event to question the need to know the process of the creation of a work. How much does an audience need to know to enjoy the work? Does the audience need to know whether or not a piece is set or scored? Does the audience need to know what material the artist is sourcing?
The piece itself was created with a talk about “cracks” that I had with Jeanine last semester in mind. We were talking about one of my showings. For her the piece had no cracks, no way in for the audience. The inundation of information in The Range of Acceptable Outcomes – “facts” about the spectrum of choreography and improvisation, the asides, the stutters, the reference how this piece should be viewed, the quotes of Mary Overlie, Deborah Hay, and A Chorus Line – is an effort to create “cracks”. Maybe cracks is the wrong term. Maybe tendrils or rhizomes is more appropriate. Some of the information in the inundation might trigger a thought or a question, leading the viewer down a pathway not directly connected to what is happening on stage. Poetry, if you will.