Today I held an audition for an upcoming multimedia dance piece, which will be ready for viewing on the 1st of May in the Theatre of the Wimbledon College of Art. The performance for which the audition was held is a devised work that I am making in collaboration with fellow MA students, Emily Bailey and Eileen Newton.
Having booked a little dance studio in the centre of the city, we posted the details of the audition on ArtsJobs.com and received a very positive response to our ad. We had a great turn out today and I am confident that we have found some very talented and competent performers. In fact, the standard of the auditions was so high that casting the parts will be somewhat of a nightmare.
By Friday I will post the final list of successful applicants here, but until then, here is a little excerpt of an improvisation exercise that we tried out during the audition. Enjoy!
Tuesday, 10 March 2009
Sun Dogs Audition
Monday, 9 March 2009
Toy Soldiers
A recent trip to the Saatchi Gallery exposed me to a Palestinian artist, Wafa Hourani, who is doing some very interesting work that I think speaks well to our group project.
Here are a few pictures of his work and the Blurb about its origins.
"Wafa Hourani is a Palestinian artist living and working in Ramallah. Combining photography and sculpture his Future Cities projects deal with the social, political, and economic realities of Palestinian life to develop grim and apocalyptic predictions for the residents of the West Bank. Qalandia 2067 takes its name from the main check point crossing through the West Bank Security Fence which divides the cities of Ramallah and ar-Ram; it is a site of political unrest and human rights concerns. Dating his piece 2067 – one hundred years after the Arab-Israeli 6 Day War – Hourani has constructed 5 scale models envisioning the future of a refugee camp where time seems to have regressed rather than evolved. Basing each segment on an actual site – the airport, border crossing, and 3 settlements – the buildings are rendered as war-ravaged and crumbling, crowned by implausibly archaic remnants of TV antennae. Each building is a miniature light-box illuminating glimpses into the private lives of the residents through film strips placed in the windows, an unnerving reminder that this science fiction horror is, for many, an everyday experience."
for more information see
Tuesday, 3 March 2009
Post Graduate Forum
In preparation for my postgraduate forum presentation which will be held on Firday the 13th, I have made the following hand out
In Search of a Real-Theatre-Politik
Presentation by Sarah McLaughlin to the Postgraduate Forum on the 13th of March 2009
The focus of my practice and research here in the London University of the Arts has been primarily concerned with the historical tension that exists between art and utility in political theatre.
The desire to separate theatre and politics is not a new phenomenon. Throughout antiquity, the concern that theatre can corrupt political life has been a recurrent apprehension among social commentators. Similarly, certain dramaturges have expressed comparable misgivings about the amalgamation of performance and politics for precisely the opposite reason. They, on the other hand, fear that politics may corrupt and even eviscerate theatre. Despite these reservations about the combination of politics and theatre a belief persists among many that theatre not only has the duty to serve the people but also the unique ability to bring salvation to a corrupt and distorted social world.
There is an inherent tension here which concerns me, as a maker of political theatre. If politics and art are mutually destructive forces, and each corrupts the other, how can political theatre be created without compromise? Can the makers of theatre reconcile art and utility? This research question has best been articulated in the words of Sir David Hare;
You want the world to be different. You want injustice to be addressed. You want a social system which relieves the ubiquitous suffering of the poor. Why on earth do you imagine that theatre might be an effective, even an appropriate, way to achieve such things? (David Hare, 2005; 19)
Problematically, theatre with a political goal often lacks nuance, as it is designed primarily to be accessible. For this reason it can be simplistic and unchallenging, or, worse still, it can be dogmatic, dictatorial, heavy handed and one-sided. Habitually, the maker of political theatre does not want her audience to miss the point, so instead she browbeats them into awareness. It is my goal to find a new way to approach the making of political theatre.
Whereas the traditional elitist method of political theatre seeks to edify its audience by granting them information, I want the audience to have ownership of their own experience. Grounding my work in the theories expressed by Jacques Ranciere’s seminal piece of literature The Emancipated Spectator, I am trying to create a form of political theatre that speaks to the audience as a collection for individuals rather than as a unified community. In so doing the theatre maker can allow each member to interpret the work differently depending on each individual’s life experience.
Giving away artistic control in this manner demands a certain level of humility from the theatre maker. The artist must consider the political problems that they confront as having more than one solution and more importantly they must accept that they do not know, and cannot possibly know, the answer to the problems they seek to explore. Although by most definitions, political theatre necessitates the expression of a certain political view point; my political theatre will instead encourage the development and articulation of independent perspectives for each member of the audience.
Presentation by Sarah McLaughlin to the Postgraduate Forum on the 13th of March 2009
The focus of my practice and research here in the London University of the Arts has been primarily concerned with the historical tension that exists between art and utility in political theatre.
The desire to separate theatre and politics is not a new phenomenon. Throughout antiquity, the concern that theatre can corrupt political life has been a recurrent apprehension among social commentators. Similarly, certain dramaturges have expressed comparable misgivings about the amalgamation of performance and politics for precisely the opposite reason. They, on the other hand, fear that politics may corrupt and even eviscerate theatre. Despite these reservations about the combination of politics and theatre a belief persists among many that theatre not only has the duty to serve the people but also the unique ability to bring salvation to a corrupt and distorted social world.
There is an inherent tension here which concerns me, as a maker of political theatre. If politics and art are mutually destructive forces, and each corrupts the other, how can political theatre be created without compromise? Can the makers of theatre reconcile art and utility? This research question has best been articulated in the words of Sir David Hare;
You want the world to be different. You want injustice to be addressed. You want a social system which relieves the ubiquitous suffering of the poor. Why on earth do you imagine that theatre might be an effective, even an appropriate, way to achieve such things? (David Hare, 2005; 19)
Problematically, theatre with a political goal often lacks nuance, as it is designed primarily to be accessible. For this reason it can be simplistic and unchallenging, or, worse still, it can be dogmatic, dictatorial, heavy handed and one-sided. Habitually, the maker of political theatre does not want her audience to miss the point, so instead she browbeats them into awareness. It is my goal to find a new way to approach the making of political theatre.
Whereas the traditional elitist method of political theatre seeks to edify its audience by granting them information, I want the audience to have ownership of their own experience. Grounding my work in the theories expressed by Jacques Ranciere’s seminal piece of literature The Emancipated Spectator, I am trying to create a form of political theatre that speaks to the audience as a collection for individuals rather than as a unified community. In so doing the theatre maker can allow each member to interpret the work differently depending on each individual’s life experience.
Giving away artistic control in this manner demands a certain level of humility from the theatre maker. The artist must consider the political problems that they confront as having more than one solution and more importantly they must accept that they do not know, and cannot possibly know, the answer to the problems they seek to explore. Although by most definitions, political theatre necessitates the expression of a certain political view point; my political theatre will instead encourage the development and articulation of independent perspectives for each member of the audience.
Wednesday, 25 February 2009
Curator; friend or foe
This week I have been wrapped up in the business of curating a group exhibition in the Nunnery Gallery which will have its opening reception tonight, Thursday 25th of February.
I took up the position of curator for this show due to my background in set design; believing there to be several important similarities between the role of a curator and that of a set designer. Fundamentally, both professions are concerned with the narration of space. They both pivot on spectatorship and they must both work within certain perfunctory parameters such as sight lines and fields of light. So although this was my first attempt at curation, I entered into the gallery space on Monday morning believing that I had something to offer to the process... Little did I know just how much I’d learn from the experience.
There is a very different way in which a curator combines the work of separate artists to the way in which a theatre maker combined the contributions of individual theatre practitioners. There is a notion of the integrity of each piece of work in the former that is not present in the later. For a curator, there are demands that the artist’s work is set apart, so that it can stand on its own as an individual piece. Admittedly, today the role of the curator is expanding and becoming more fluid and free; a fact that appears to be a source of great concern to certain members of the art world (see Claire Bishop’s Antagonism and Relational Aesthetics ). There still exists today a very palpable opposition to the curator who extends his/her remit beyond the mere function of hanging. Curators who attempt to juxtapose different art works, with the aim to finding new meaning in so doing, inevitable meet with opposition.
This notion of the integrity of an individual piece, which is so deeply ingrained in the minds of fine artists, is not an issue in the art of theatre making. The work of a theatre maker is never intended to stand in isolation. From its very conception each element is intended for synthesis. Theatre always creates new meanings through methods of combining, juxtaposing and aligning the work of separate artists. No single element speaks alone, nor is it meant to.
I could say much, much more about what I have learned in the past week, but the whole thing has me utterly beat. So for now... I must sleep
I took up the position of curator for this show due to my background in set design; believing there to be several important similarities between the role of a curator and that of a set designer. Fundamentally, both professions are concerned with the narration of space. They both pivot on spectatorship and they must both work within certain perfunctory parameters such as sight lines and fields of light. So although this was my first attempt at curation, I entered into the gallery space on Monday morning believing that I had something to offer to the process... Little did I know just how much I’d learn from the experience.
There is a very different way in which a curator combines the work of separate artists to the way in which a theatre maker combined the contributions of individual theatre practitioners. There is a notion of the integrity of each piece of work in the former that is not present in the later. For a curator, there are demands that the artist’s work is set apart, so that it can stand on its own as an individual piece. Admittedly, today the role of the curator is expanding and becoming more fluid and free; a fact that appears to be a source of great concern to certain members of the art world (see Claire Bishop’s Antagonism and Relational Aesthetics ). There still exists today a very palpable opposition to the curator who extends his/her remit beyond the mere function of hanging. Curators who attempt to juxtapose different art works, with the aim to finding new meaning in so doing, inevitable meet with opposition.
This notion of the integrity of an individual piece, which is so deeply ingrained in the minds of fine artists, is not an issue in the art of theatre making. The work of a theatre maker is never intended to stand in isolation. From its very conception each element is intended for synthesis. Theatre always creates new meanings through methods of combining, juxtaposing and aligning the work of separate artists. No single element speaks alone, nor is it meant to.
I could say much, much more about what I have learned in the past week, but the whole thing has me utterly beat. So for now... I must sleep
Intersections; An exhibition of new work by MA students at Wimbledon College of Art
The Nunnery
27 February – 8 March 2009
Open Fri – Sun 11am – 6pm
Wimbledon College of Art is pleased to announce an exhibition of new work by more than 70 postgraduate students from the MA Fine Art and Visual Language courses.
A diverse and international group of emerging artists introduce a collection of their varied work. Taking place mid-way through the course of study, the work is the outcome of an adventurous, enthusiastic and challenging approach to art making. Continuing Wimbledon’s long established reputation for producing accomplished and thoughtful practitioners, this show represents exploration and experiment, whilst maintaining an emphasis on professionalism.
Split into two parts exhibited over two weeks, the show reflects the inclusive and expansive philosophy of the Wimbledon MA. This is an opportunity to view painting, drawing, sculpture, video, film and performance pieces by new artists addressing a multitude of themes. The eclecticism and diversity of approach evident in the exhibition is unified by each participant’s shared desire to constantly question, revaluate and refine their artistic practice.
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Opening Reception:Part 1: Thursday 26 February 6-9pmPart 2: Thursday 5 March 6-9pm
The Nunnery Gallery
183 Bow Road
LondonE3 2SJ
020 7538 1719
http://www.bowarts.org/thenunnery/index.php?code=421
For more information, images or viewings outside of opening times please contact http://uk.mc254.mail.yahoo.com/mc/compose?to=wimbledoninterim@gmail.com
Victoria Burgher
http://uk.mc254.mail.yahoo.com/mc/compose?to=mail@victoriaburgher.com
http://www.victoriaburgher.com/
27 February – 8 March 2009
Open Fri – Sun 11am – 6pm
Wimbledon College of Art is pleased to announce an exhibition of new work by more than 70 postgraduate students from the MA Fine Art and Visual Language courses.
A diverse and international group of emerging artists introduce a collection of their varied work. Taking place mid-way through the course of study, the work is the outcome of an adventurous, enthusiastic and challenging approach to art making. Continuing Wimbledon’s long established reputation for producing accomplished and thoughtful practitioners, this show represents exploration and experiment, whilst maintaining an emphasis on professionalism.
Split into two parts exhibited over two weeks, the show reflects the inclusive and expansive philosophy of the Wimbledon MA. This is an opportunity to view painting, drawing, sculpture, video, film and performance pieces by new artists addressing a multitude of themes. The eclecticism and diversity of approach evident in the exhibition is unified by each participant’s shared desire to constantly question, revaluate and refine their artistic practice.
.
Opening Reception:Part 1: Thursday 26 February 6-9pmPart 2: Thursday 5 March 6-9pm
The Nunnery Gallery
183 Bow Road
LondonE3 2SJ
020 7538 1719
http://www.bowarts.org/thenunnery/index.php?code=421
For more information, images or viewings outside of opening times please contact http://uk.mc254.mail.yahoo.com/mc/compose?to=wimbledoninterim@gmail.com
Victoria Burgher
http://uk.mc254.mail.yahoo.com/mc/compose?to=mail@victoriaburgher.com
http://www.victoriaburgher.com/
Monday, 23 February 2009
Script for Ambient Noise
Last week I spent my days putting together the script for our group project and recording each characters part with the actors I had cast for the voice-over.
Here I have attached a section of the script for your reading pleasure...
Here I have attached a section of the script for your reading pleasure...
AMBIENT NOISE; an extract*
Inside the TV Studios there is a warm hazy womb-like room build of paper lit in a soft blue/green light. There is a chandelier hanging from the ceiling. it is not lit. It is dripping with candle wax and toy soldiers. There is a mirror in the room which reflects a second masked character who has his back to the audience. His mask has no features. It is blank and expressionless. He is looking at a television that is hooked up to a playstation with a war game on pause. He is holding the joystick limply in both hands. The music that was playing in the corridor continues while the audience entre the space and position themselves around the room. Suddenly as if awaking from a dream the masked figure acknowledges the audience. A second voice is heard
VOICE2: You’re late! Where the hell where you? Are all the doors firmly shut? Can anyone see us or hear us?
The masked character moves through the audience and hastens the shut the door. Pausing and looking left and right into the corridor before carefully shutting it. As the masked figures returns his attention to the room the voice continues
VOICE2: I’ve been told that this house is going to be besieged. The rebels have already crossed the river
This afternoon, just before you arrived the rebels took three key positions. They set fire to several places. Not a single fireman came out. Everything went up in flames the palace was blown up last night. It’s dangerous for anyone to loiter in the streets. You had a pretty close shave.
(he laughs and looks at himself in the mirror, taking a stance like a movie character, he pretends to machine gun the entire cafe)
Bangbangbangbang!
I went out to plant a bomb. When I got half-way up the street, some son of a bitch started firing away but he missed me. I saw the machine-gun almost in front of me. He was reloading. I just stood and stared at him, cool as a cucumber. He looked as if he were posing, with the light beaming on him. He took aim. And then, he toppled over. One of our boys had picked him off. I continued on my way, calm as can be. I plant my bomb and here I am. I wasn’t scared for a second. Didn’t bat an eyelash.
A noise is heard
VOICE2: What’s that?
All the lights go out. The audience is plunged into darkness.
*Ambient Noise is an adaptation of Jean Genet's The Balcony, so all the lines here have been drawn directly from the original text. They have however been reconstructed and rearranged for the purpose of our performance.
Monday, 9 February 2009
Proposal for Company Performance
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Name of performance: Ambient Noise
Company Members: Bo Young Kim, Sarah McLaughlin, Eileen Newton and Vasiliki Papadopoulou
Synopsis: We are proposing a 20 minute performance based on Jean Genet’s seminal piece of literature, The Balcony. This text has been chosen for its unique synthesis of, and approach to, the core themes of reality and escapism. We wish to explore the tension that exists between ones political responsibility and ones desire for escapism. In so doing, we will take particular care to address the role of sound in either stimulating a political consciousness or conversely inducing a personal fantasy. Whereas the characters of Genet’s original play chose to ignore the sounds of war and destruction that could be heard from outside the brothel; our production will confront the audience with a similar choice. We plan to provide each participant with a choice of aural stimuli. From outside of the playing space they will hear the sounds of modern warfare; however inside the space they will be greeted by a solo performer who indulges in his own false reality. Since Genet’s script famously created an ambiguity between truth and fiction, our performance will also aim to distort the boundaries of what is real. Consequently, we hope to call into question the validity of our knowledge of contemporary international conflict, which is based entirely on the information that is disseminated through various media bodies.
Implementation
Time Frame for installation and strike: This performance will be conducted in the TV Studio between the 19th and 25th of March. Our Production will be ready for public viewing on Wednesday evening at five o’ clock with a get-in on Tuesday morning between 10 and 12. The company strike will take less than a half day to complete.
Budget: The Company have decided a collective budget of £100 to realize this production
Delegation of tasks:
Eileen Newton: Costume and Mask Design
Bo Young Kim: Sound and Costume design
Sarah McLaughlin: Direction and Projection design
Vasiliki Papadopoulou: Set and Lighting Design
Bo Young Kim: Sound and Costume design
Sarah McLaughlin: Direction and Projection design
Vasiliki Papadopoulou: Set and Lighting Design
Technical Rider
Equipment needs for performance
6 Stage Lights (par cans and source four pars are preferable), 2 projectors, Hazer, 2 speakers,
amp, mixing desk, CD Player, ladders for installation and safety cables to secure the equipment.
Equipment needs for Documentation
3 Camcorders, 3 Tripods, 1 stills camera
Basic Set Elements
Couch, TV, 10 pieces of 4x8 Plaster Board, Paint
Equipment needs for performance
6 Stage Lights (par cans and source four pars are preferable), 2 projectors, Hazer, 2 speakers,
amp, mixing desk, CD Player, ladders for installation and safety cables to secure the equipment.
Equipment needs for Documentation
3 Camcorders, 3 Tripods, 1 stills camera
Basic Set Elements
Couch, TV, 10 pieces of 4x8 Plaster Board, Paint
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