TEACHING PERFORMANCE IN VALENCIA For Bartolomé Ferrando
Throughout this paper I will try, in a rather schematic, display the summary of my teaching on the performance art.
I will say, first, that usually, students enrolled in this course is not compulsory, from various countries, mainly lack of knowledge about the concept of performance, and therefore have not done any practice in this area. The skills have mostly belong to the realm of art, but also, some of them have certain notions theater or have been part of groups more or less close to the performing arts. Consequently, the teaching that took place contains both a theoretical and practical, and delivery from the beginning, from the beginning, from a position ..
Throughout the academic year at any time combine theory with practice in the teaching practice of a normal day course, developed as follows:
A. "The first part is devoted to a theoretical description of some of the issues which I will then .
B-I think a little debate about the theoretical issue exposed. C-Project
a video or DVD with performances, which could be classified into three groups: 1-Performances
selected students from previous courses.
2-DVD Videos and national and international festivals
performance 3-D
historical Performances "Sometimes, not always, produces a discussion on the planned performances.
Development E-1-one of the exercises that I set out below.
E-2-Occasionally, some students do any performance in the classroom space or close to it. In that case, the practical exercise mentioned not done, and replaced by the student's performance.
assessment of the subject is continuous from the start of the course, taking both class attendance and the quality of the performances made. BLOCK THEORY
In the realm of theory, first make a general introduction: an exhibition of some distinctive global action on the gear, so that I might be focusing on the theme best. So, in summary, stated the following:
-That the definition of performance includes all the currents of action, gesture and movement.
"That for the performer, his body is both experimental instrument, and that which takes place on such experimentation.
"That will no longer talk about work, but rather work as an artist.
-That the performance we witness a gesture, a pure act of a naked act, sufficient by itself because of its internal strength
-That the performance more pure, and often the most compelling, is that which goes beyond the narrative
"That performance is a process issued by the subject, which takes account of its own dissolution in the otherness of matter, the machine, sound or image. That the individual has to disappear into his work.
That the performer has the ability to work without guidelines or rules
"That what is at stake is not the aesthetic value of the completed project, but the effect it has on the audience and the performer himself" That
what counts is performance that is part of the movement, its intensity and the energy released or has arisen in the public
-That the performance does not make sense, but creates a sense
"That performance is not a simple illustration of any meaning. That his intention is not to say, but to feel. Which rejects all discourse.
(These phrases and quotations are drawn from the collection of writings by performers, compiled by Gloria Picazo escènics in the journal Studies No. 29, Ed Pòrtic, Barcelona, \u200b\u200b1988)
Second, in the theoretical exposition, I typically focused on the development and review of certain elements of performance art, such as space, time, body and mind. I must say that whenever I discuss the teaching practice and I stop talking separately for each of these elements, but in any line or indicate a way to continue or use a global standard, because it seems important that each student to discover for themselves the sharing of all of them. But also, when I talk about each of these factors, I do not only from the perspective of the performer, but also I have in mind and appreciate the insights and suggestions from people from very different areas as art, literature , film, music, philosophy or theater, because, from my point of view can be so interested in a fact or opinion provided, for example, Joseph Beuys about space or time, as we can say or post about it, Jorge Oteiza, Octavio Paz, Ingmar Bergman and Tadeusz Kantor. Therefore, in the brief summary that I present, give a sample plural reflections and comments that expose students about the foregoing.
And, speaking of the area commented that:
-The space should be integrated into the performance (P. Zumthor)
"That is an infinite number of spaces in motion (A. Einstein)" That
space can not be conceived as a totality but as a fragment (G. Perec)
"That up and down are not descriptive words of our space (B. Fuller)
"That space becomes a sign, as in Mallarmé (V. Accame)
" That lit space is a division of space (D. Flavin)
"That G. Anselmo talks about the fracture of a space in another space
"That space is a material, not a vacuum (N. Schöffer)
" That M. Neuhaus speaks of the attempt to know intuitively space
"That space is defined by the combined elements (GCArgan)
-That the exercise of Futurist simultaneity of different actions contained in separate areas (R. Lee Goldberg)
"That would speak and think about the possibility of operating on a space located inside of another space (R. Casamada)
-That any point in space is of interest (M. Cunningham)
That the space flows into another space (R. Giese)
"That area produces each other (J. Cortázar )
"That would have to look at the space left when an object moves. The footprint of a space (J, Oteiza)
"That should be borne in mind that the physical space and perceptual space are not identical. And there are so many perceptual spaces as people perceive (B. Russell)
"That performance is the relationship between body and space (J. Glusberg)
Gutai
" That would raise awareness about the space and time-shares
M. Abramovic said his interest in regular sites as the monastery, the hospital or prison
-May
P. Noguera says that everything repeated occupies a unique space
"That the remoteness of the area can be linked to the remoteness of the time (M. Merz)
" That a tree and a forest occupy the same time but different space (M. Merz)
-May R. Long was fascinated by the continuous movement of things in space
"That is the space that connects things (H. Arp)
" That space is controlled by time (M. Merz)
-May about space and time must be built art (N. Gabo)
emphasize here, above all, the fact of considering space as a material chosen integrated performance, with which the body relates. In other words, I propose to feel the space chosen as an extension of the body.
Speaking of the concept of time, stress, in summary, the following:
"Let each element has a movement and time (R. Long)
" Let the count, said E. Ferrer take time consciousness
"That, he says that E. Ferrer, in a performance matter how you do things. The time display should only
-That the discontinuity is a category of our time (U. Eco)
That the current time, said J. Brossa, narrative is no longer
-That time is a spiral biological (M. Merz)
-That the actions, the happening, should happen in its natural time (A. Kaprow)
"That sometimes , in a performance, virtual time is used in conjunction with real time
"That sometimes, in a performance, are taken up last time events of childhood, but as mimetic or misleading
That in China Time is linear and circular at the same time (F. Cheng)
"That would be interesting to create a circular image of time, starting something and finishing starting point
"That, given the repeated, time becomes circular
" That when carrying out several simultaneous actions, denser
time
"That would seem to me to create interest breaks, suspended time, in performance, where the action stops, or causes, as well as stop, start another action sandwiched
"That interest would seem to me to conduct two simultaneous performances with time invested, so that is the beginning of a final the other
"That should be taken into account to do it one time, read it once, and hear a different
-May R. Barthes spoke creating a speech in zig-zag times, in my view applicable to various performances carried out simultaneously.
In this case emphasizes, the proposal to have while doing any action, which enables integration of gesture and movement to the idea of \u200b\u200btime.
then I expose data and comments that labor, when I refer to the body:
That the body is a matter shaped by social phenomena (Plato)
-That the word is linked to the body. It is your own voice. The voice is the materiality of the body (R. Barthes)
That the body is produced through the mouth (H. Chopin)
-May the cry is a body that represents nothing (A. Artaud)
-That to A. Artaud is a mind on the flesh and body
"That's all body, all is clear, that everything is sound (W. Vostell)
-That the numbers are an extension of the body (M. Merz)
"That
K. Rinke discusses the relations between body, space and time
spatiality "That feeling attached to his body and feel the time linked to the body, are determinants of creativity (G. Dorfles)
-That the city is body, and the road, arms and legs (HD Thoreau)
"That space is a body, not a vacuum (JL Fernández de Castillejo)
Merleau-Ponty That said, things are an extension of my body "That
J. Plensa spoke of transforming the space into a living body
-That any material configuration is necessarily linked with our body (R. Long)
-That H. Michaux says that there is a meeting point between the inner and outer reality
"That the interior of the body is not found in the interior. What is the resistance. That is an active character (J. Joas)
"That should recognize the gap, says H. Michaux, body and thought "That
our body belongs to the environment (J. Beuys)
-That the universe comes within us, by the body (S. Weil)
-That for the Viennese Actionism, the action space is not the body wrap.
is body-That for the Viennese Actionism, the psychic space, equipment and the body is all one
Viennese Actionism "That points to a metamorphosis of the body
" That O. Mühl said he had to go to the decontraction of all body parts
"That is suffering, said G. Pane, where the body speaks specifically of self-
to redo the body is losing the organs of the property (A. Artaud)
That the body is a sender and receiver of psychic energy (D. Oppenheim)
"Do not know what the body is able (B. Spinoza)
" That had to be open to the germination of the body (L. Clark)
That the body in the performance, and not follow the speech. It aims to leave the subject of discourse (J. Glusberg)
"That we perceive the movement of our body, such as moving an object in space (A. Schopenhauer)
That the body is only the ritual (M. Journiac)
-That the consciousness of the body promotes the identity of the subject (E. Durckheim)
-That the Body Art, the artist's body becomes in a system of signs (GC Argan)
-That the performance speaks of the need for the presence of the body, bypassing the reflection (B. Nieslony)
emphasize, especially in relation to the body, both data and initiatives to acquire some awareness of it as the important proposal that the body in the performance, be considered as a subject at the same level and importance of other materials or objects with which you relate and intervene in it, with the intent and purpose of or distance away as possible from the body attitude or behavior of the stage actor.
underline also the theoretical discussion, the importance of the existence of an idea, on which comments:
"That idea is also a sign (U. Eco)
" That idea exists only in the form of language (Kristeva J. )
That in their texts, GFHegel says that art is the emergence of the idea
-That the idea is the product of a series of partnerships (B. Nieslony)
That the concept or idea that holds is common to thousands of representations (J. Kristeva)
-That to J. Beuys one way is as an idea-Let
to R. Filliou the material, and use of the material is that it gives the idea, and not the other
-That the ideas from elementary sensations (A. Breton)
That in his writings, R. Long says his walks generate their ideas
"That HD Thoreau proposed walking and while walking, think things
" That is when we get carried away when they appear the most important ideas (H. Michaux)-That
artist, "said O. Mühl, must retest without ceasing, to approach their ideas
"That Duchamp said he was interested in ideas, not visual products
" That the most important thing is a work of art that has a good idea ( F. Stella)
"That the idea is the most important aspect of the work (Sol Le Witt)
-That the perception of ideas, leads to new ideas (Sol Le Witt)
"That the idea is a machine that generates art (Sol Le Witt)
" That creativity is the development and implementation of an idea (N. Schöffer)
- in his writings, P. Klee said that as his work took shape, it amounted to an association of ideas
-That to J. Brossa, creative ideas would be to relate previously unconnected
That in the process of creating a performance is to redefine the details of a particular idea (Ch. Burden)
"That attention to physical attributes Ch "said Burden, is opposed to the understanding of
idea-that ideas, when effective, carry their energy with you (A. Artaud)
"That one idea," said D. Diderot can vibrate in many other
In this theme, above all, the proposal sets forth the idea that different parts or components of a performance. Not necessary, commented that this idea forward in performance. Do not talk about the communicability of it, made me more interested in very little, but that only takes into account and there is the idea, by the performer, as the glue holding the action itself.
This second set of theoretical comments, also contains insights and reflections on the concepts of energy and away from application of the notion of representation to performance, that although I find issues of importance in the exercise of performance art, I shall not for reasons of space. Treatment
then as a third block theory, data exposure and reflection point, applicable not only to performance art but to the general artistic practice, with comments on the notion of play, limit, perception, intuition, sensitivity, innocence, imagination, creativity, awareness of the subject, and excessive pain, also observed from the perspective plural of artists, writers, musicians or philosophers. This third part, still seems vital, I expose only when it comes to the case, ie when the discussion with the students notice any of these issues, or when I notice that the fact that expand on some of them might provide further understanding general theory of performance. Finally
say that exposure of the fourth block theory, covers the general findings, sometimes divergent, drawn mainly from books and catalogs, some historical representatives of the performance or had an artistic practice next to the exercise of performance art, as M. Duchamp, Y. Klein, P. Manzoni, Gutai, A. Kaprow, R. Filliou, NJ Paik, G. Brecht, J. Hidalgo, E. Ferrer, H. Nitsch, O. Mühl, G. Brus, T. Kantor, G. Pane, V. Acconci, Ch Burden, A. Mendieta and M. Abramovic. This theoretical discussion accompanied with a video projection of the authors mentioned that I have. PRACTICAL BLOCK
Activity
then to comment and elaborate exercises for the practice of teaching performance that realized at the Faculty of Fine Arts in Valencia. This consists of exercises and interventions that are carried out:
A-Inside the classroom
B-Outside the classroom
will detail, first exercises that are performed inside the classroom, which will go in the order stating which took place throughout the academic year, and could be summarized as follows:
first
.- Practice -At the beginning of the course, one of the first exercises that took place, and has an overall length of approximately 15 'is a practice that has the ability to remove tension, not only individually but also collectively , taken from the performance shop that I coordinated at the Faculty of Fine Arts in Valencia, teachers and Ruedi Schill Monica Günther. So I returned one of his Initial exercises were as follows:
1-All students are placed in a row, one after the other, forming a circle.
2-The teacher is part of the circle as a student more.
3-started walking slowly accelerating ever faster pace, following the instructions of the teacher.
4-At one point, after walking in a circle, and a teacher's signal, they all jump up and scream at the same time deeply. 5-
restarts the exercise again five or six times.
The main effect to be obtained in this first year, is the elimination of certain rigidity and contracture, leading to turn some empty interior, which greatly facilitates the subsequent financial year
.- Practice second involves the creation of a Gong show, drawn from the writings and notes from the workshops of Robert Filliou. Approximate overall length: 30 '
This practice is carried out as follows:
1-Among all participants will choose an object to be placed in the center.
2-All students are placed in a circle around the object.
3-The teacher is positioned as one in that circle.
4-Beginning at any point of the circle, each student must intervene manipulate or interact with the object for 30 seconds.
5-The relationship, intervention or manipulation to do with the object should be removed from any known use, looking therefore always somewhat unusual with this intervention.
6-interventions will be implemented one by one, strictly following the order in which students are placed.
7-Each intervention should begin after an acoustic signal given by the teacher and completed by the second signal. Between the first and second signal must pass 30 seconds.
8-When I heard the second signal, started by the next student
The focus of this practice, in addition to the discovery and creation of unusual and individual relationship with the object in question, is that it contains a requirement of minimum intervention, inviting you to break the stage fright that many students have. This exercise is therefore not only an introduction to what Filliou said: "It's the material and use of material which gives me the idea, and not the other" but also is a big boost to help participate in a workshop or collective action.
.- Practice third
It is about the relationship between body and space. I try to develop what theoretically discussed when I spoke it, ie, try to develop the proposal to consider the space chosen as a material integrated into the performance, with which the body relates, feeling like an extension of the body. Approximate overall length: 15 '
1-Each student will be in the place you want, and in the desired position: standing, lying, sitting, kneeling, bending, etc..
2-The teacher will be part of one other student.
3-With eyes closed, we will move slowly forward, backward and to one side or to another, noting that we get into the air, that we play, that we get within it, and it surrounds us and form a unit, which in turn is an extension of ourselves.
What I appreciate most of this practice is the fact begin to see space as a surround field, and feel like a mass that covers all the holes you're leaving to move or scroll. From there you start to take this into account, to consider it as another body that creates a close coexistence, and, for this reason, it starts to become so important in performance as your own body.
.- Practice fourth
exercise consists of a collection of the passage of time, following the sentence, before E. Commented Ferrer: "the count, consciousness takes time. " Approximate overall length: 10 '
1-All students are placed seated in a circle.
2-The teacher is positioned as one in that circle. 3a-
Each begins to count from 1 to 60, quietly, at their own pace, without looking at next to it. When you have reached 60 stands up.
3b-Located in a row, each student begins to count from 1 to 60, quietly, at their own pace, walking slowly forward. When it has reached 60 stops. (Variation of above)
4-The exercise will be repeated again from the beginning. The result will be quite than the first.
Of interest in the extent to which each one begins to notice and realize their own pace, its own rhythm, which has nothing to do with the partner. Each builds its own time, and warns that changes every minute. Practice
.- About one fifth innocence of the gaze. Approximate overall length: 30 '
treatment here of the proposal to return to see the environment as if you had never before seen
1-All students will be placed anywhere in the room or space, compared to an object or environment that have previously chosen
2-Then I suggest to students look at the object or setting aside and forgetting what they know about him, as if for the first time I discover or observe
3-After that, I ask each one, individually, about the features or characteristics that imagines object or environment that has, which seems surprising in many cases, both the student and myself.
Through this exercise, try to invite to learn to look at things differently. I try to attempt to recover, albeit brief and timely manner, a way of seeing the environment without conditions. But this practice further points as it seeks to be an exercise that transforms, in general, the usual way to observe the space and objects that one finds every day, transforming the experience into an ongoing discovery.
.- sixth Practice approach or approach the object. Approximate overall length: 20 '
1-All students are placed seated in a circle.
2-The teacher is positioned as one in that circle.
3-In the center of the circle will place many different objects, simple or complex, useful or useless, complete or incomplete.
4-Each student chooses an object. 5-
One by one, each student, after identifying the purpose, whether its form, its function or the specific physical characteristics of it, make a gesture, which should be indicative of the manner or way of approaching or merging itself with the object.
The usefulness of this exercise lies in the process of perception of own body as if it were an object involved in the performance. No delivery as seen from the performer's body, but the object, which is gradually gaining a greater presence, reaching the same level of importance and interest to the body of the performer.
.- Practice seventh perception of details or trifles. Approximate overall length: 20 '.
For this exercise:
1-All students are placed seated in a circle.
2-The teacher is positioned as one in that circle. We chose 3-
together a common object
4-A student circle takes it, look closely, and talks about some insignificant detail or who found the object.
5-One by one, and in an orderly manner, all students take the object in his hands and comment on some trait they have found invaluable.
The interest of this practice is not only in the individual assessment one can make the object, but, above all, in the notice of the existence of any a set of minimum elements trifles or any common object contains, and also the creative potential that contains all details, and is applicable to the performance. Practice
.- eighth of coexistence and multi-object perception. Approximate overall length: 20 '
This year I started to practice observing and participating in an intervention by the performer Marilyn Arsem in a Festival in Poland. I applied for teaching almost identically to how I saw him do as follows:
1-All students will be distributed in pairs around the classroom space
2-Each pair of students choose any object, that place between the two, either in a table or on the ground.
3-Student 1, after feeling the object, manipulate the shape or slightly change the position of the object.
2 4-A student, after feeling the object, will change the shape or position of the object. 5-
successively and alternately, the students repeated again and again this year, up believing that they have exhausted their possibilities.
6-The duration of each intervention is not determined
7-The end of the year, not determined.
In my opinion, This practice has two interesting aspects: the first would be the fact that this is an exercise in relationship with others, of establishing a kind of dialogue and proposed moves between the two participants. The second aspect would be in the practice of plural observing an object, the perception and reception come marked by the intervention of other, independent of the will of the beholder. Practice
.- ninth intervention on the object. Approximate overall length: 30 '
This year I propose to make an unusual intervention in a common object. To do this:
1-All students are placed next to the wall at the perimeter of the classroom.
2-The teacher stands as one among the group. 3a-
We provide to all multiple units of any object, which previously we have chosen together. 3b-We
Over the last two months of course, a change in this practice: instead of dealing with one subject repeated ten or twelve times, while we use all the objects that we have accumulated over the past practices.
4-On a voluntary basis and without any order, a student may involve one or more times, or quit. His intervention will be to create a relationship or involvement with the / the object / s, that has nothing to do with the habitual use or the relationship we have with the / the same / s.
5-Each student will also participate in the exercise of its partner, by extending and multiplying or interfering.
6-The duration of each intervention may be instantaneous, short-term, or throughout the duration of the exercise
interest in my opinion has this practice is to produce an extension and multiplication of the type of relationship with objects and the environment in general, beyond the identification and media coverage that the customs and language on us. I believe that this practice is an exercise of open-mindedness and discovery of new relationships.
phonetic poetry workshop and sound At the beginning of the course, and because I think a possible factor to take into account, and to include in the practice of performance art in general, offer students the opportunity to spend a time of teaching the course, equivalent to one month of class, to show some creative procedures applied personally to some of my performances, from the analysis of phonetics and sound poetry, both its historical component and its latest practice . This workshop is optional, meaning that only carried out if approved by the Students set up the class. And in that case, if development approval as follows: 1-I
primarily a theoretical introduction to the concept of phonetic poetry and sound. 2-propose
listening, following where possible written texts, compositions of K. Schwitters, H. Ball, V. Khlebnikov, I. Isou, M. Lemaître, E. Jandl, G. Rühm, D. Stratos, PA Arcand and J. Blonk among others.
3-propose the collective practice of phonetic exercises. Therefore all students must read at once a series of consonant and vowel articulations I have prepared, following some standard procedures as
-The phase of the vowels to get to the hard lumps pronounceable consonant.
-The application of simple rhythms consonant small lumps removed and derivatives last year.
-El added on both the initial and in the middle and final consonant phrasing of consonant and vowel small items close together.
"The repeated use of minimal elements, in which remains consonant and vowel component changes. This exercise will combine with several rhythmic variations
-reading and appreciation of small spaces of silence interspersed with rhythmic combinations mentioned above, altering the entire exercise.
-The use of repetition and variation-
Whether small buildings with consonant and vowel.
-or derived from the fragmentation of a sentence as in the poetic compositions of B. Gysin.
-interleaving screams, sighs and groans from the lumps read consonant-vowel.
-The practice of phonics simultaneity arising from the reading aloud while two blocks consonant-vowel by two diverse groups of students. 4-propose
the creation of absurd dialogues between students phonetic consonant, after inviting them to check off, individually, all members of a small piece of written text that I give.
5-propose the creation and phonetic discussions between two or three students
6-propose the creation of a coral-consonant phonetic
7-propose building a staff of phonetic composition, derived from practical application exercises . And, after having built, ask the author to read aloud the result, either alone or accompanied by some of his teammates.
Practices outside the classroom. Throughout the academic year, I coordinate a practical performance in various areas of the city or surrounding area, according to the possibilities that have or that arise during the course. To do this, I encourage all students to take part in these exercises, which are initiated normally in the second month of the course. To join them, each student must be provided with the material you need for your action. For these interventions are being considered, usually in the spaces below, and we arrange as follows:
A. "In the beach town .
1-This is usually the first intervention outside the classroom. In this case, requires each student choose a space necessary for its action, may be performed in the sea, on sand or in an urban area next
2-The performances are held one after another, when student has decided the place or location of the same
B. "In the streets of the city. This:
1-It was decided collectively to make the trip. 2-
then are asked each student to walk through the space chosen in order to find and choose a specific location where you want to perform its action.
3-coordinate collective action in an orderly fashion to able to do a tour together, and that, consequently, most students can see the interventions of their peers.
C. - Each year we make a collective intervention of performance in alternative art gallery in the city, which normally gives us space 1-In this case, the gallery, and myself, we report on the Internet
event
2-Each student must choose a small gallery space and to know or guess about the length of it. Please any have a duration longer than 15 minutes in order not to stretch too all the interventions.
3-coordinates the actions of so also in this case in an orderly look
4-In the event that there were several performances with an idea and approximate duration, are conducted simultaneously.
D. "In an institutional .
1-The institution includes performances in its regular program of events
2-internet personal information by the event to make
3-Since the duration should normally not be excessive, do three or four groups of simultaneous .
4 - Each group prepares their actions around a particular theme, chosen by the group.
5-Each group has 15 minutes to make their performances. Past that time, in which actions are performed in the first group starting in the second group
6-A total of carrying out 27 or 28 performances in one hour. The public moves and chooses the actions that matter most
E. "In the streets and squares of a population usually almost always arises the possibility of actions in a town near Valencia, for which give us transportation to it, and in which:
1-Among all decided an area where people intervene. Usually it is the oldest part of the same
2-Appeal to all students that walk the streets and squares elected, and pick to intervene somewhere
3-It is requested that the performances are not longer than 15 minutes
4-coordinate collective action in an orderly manner, in order to make a tour among all
F. - child in a school We have repeatedly had occasion to performances in a school for children, near the city. In this case: 1-ask
transport from the Faculty to school
2-students are asked to pick a school space, and if possible, to tell the age of the children that best suits action that were thought
3-are asked performances are not longer than 15 minutes
4-E also coordinate collective action in an orderly manner.
G. "In a theater exception has become possible to intervene in a small performance space, and on that occasion:
1-Each student chose between act on stage, into the theater among the spectators
2-organize the lighting of the different areas selected 3-
also requested that the performances were not longer than 15 minutes, in order not to excessively prolong the global intervention
All performances conducted throughout the academic year, both in the classroom as those developed outside the School, the shot in digital video and then step DVD, which make several copies, distributed throughout the course among the students concerned.
Bartolomé Ferrando bartferrando@yahoo.es www.bferrando.net
