by Acatia Finbow, Collaborative Doctoral Award Student, University of Exeter and Tate
‘Performance/Museums/Practice’ is a monthly research seminar which considers the overlapping and intersecting practices around performance and museums, in all their complexity and richness. It is an interdisciplinary group, open to academics, practitioners, and those with a general interest in the topics, and seeks to stimulate discussion and debate around these areas of research.
The first session, held at King’s on December 4th 2017, considered ‘Collaborations and the Expansion of Performance’. The seminar usually involves two key texts and one case study which form the basis for the conversation during the seminar. In this first session, we looked at Simon Martin’s ‘Painting the Stage and Screen: Burra and Performance’, Robert S. Mattison’s essay on ‘Sleep for Yvonne Rainer’, and looked at the work by Robert Rauschenberg, ‘Sleep for Yvonne Rainer’, currently in the collection of the Museum of Modern Art, New York.
By Kélina Gotman, Lecturer in Theatre and Performance Studies
It is mid-July. The vote for Brexit has happened, leaving many stunned into silence or shocked into outrage, or a combination of both. We haven’t managed to advertise extensively for the smooth & striated: form event and consider cancelling. Then reconsider. It will be strong – perhaps strongest – in small numbers, with a focused few. To do it now means to allow ourselves the luxury (is it a luxury?) of … for lack of a better term … going with the flow, thinking on our feet. Improvising. And that’s also what it is about: ways to think together in a space, on our feet, drawing; to read, transversally, to cut across a couple of texts and discover resonances and recombinations, to think laterally, perhaps.
We have decided for this event to focus on two key texts in twentieth-century art and philosophy, and to rethink not only their critical genealogies (the way Pierre Boulez’s work on pulsed and non-pulsed time, in “Time, Notation, Coding” in particular informs Gilles Deleuze and Félix Guattari’s arguably far wider-reaching and still inestimably influential chapter, “1440: The Smooth and the Striated,” from Capitalisme et schizophrénie 2: Mille Plateaux), but also the way both these complex works trouble ways of thinking linearity, teleology and what seems to be an overwhelming preference for the rhizomatic in contemporary art, including particularly in music and dance.
By Sylvia Solakidi, student on the MA in Theatre and Performance
On November 30th 2015, performance projects developed by the students of Performance Lab – an MA module run in the English Department during the autumn term – were presented in the Anatomy Museum, Strand Campus. The module was taught by Dr Harriet Curtis as a workshop comprising performance-based activities, student-led practice and seminar discussions on, among other topics, aspects of intimacy in the work of influential performance artists that have attracted vivid scholarship during the last decade.
By Ioli Andreadi, theatre director and Visiting Research Fellow
A group of Italian journalists enter the rehearsal room, interrupting the rehearsal in order to have a look at the space. The three actors – Miltiadis Fiorentzis, Eleana Kafkala and Maria Proistaki – the set designer, Dimitra Liakoura, and I stop because the reading of the play requires quiet and solitude. One of the journalists asks us what play we are working on and we reply. He says: “Ah! The Cenci family is Italian and I happen to know the family’s last descendant. Franco Cenci is my friend. He is an artist whose work is inspired by his family.” I ask him whether he could introduce me to him. I write down my e-mail address on a piece of paper, using big letters, to make sure there’s no misunderstanding. He promises to introduce us. The group leaves. The rehearsal continues.
In July 2015, one King’s PhD researcher and a group of Philippine community artists, academics and documenters undertook a two-week ‘RoRo’ journey in Mindanao, the largest island in the southern Philippines. The journey was part of PSi#21, an international Performance Studies research project, which coordinated conferences in fifteen locations across the globe in 2015.
By Ella Parry-Davies, PhD student in Performance Studies