Interrogating Performance Workshop 1 Reflection [Copy&Paste ;D]
Interrogating Performance Workshop with Prue Lang, Tristram Williams and Daryl Buckley
On Day 1, Lasalle students from different faculties met together in G401 and were joined by Head of Music Dr. Timothy O’ Dwyer together with ELISION members Prue Lang, Tristram Williams and Daryl Buckley to conduct an interrogating performance workshop aimed to prepare and train us for the OPEN festival performance next year 2017. The 4-day workshop kicked off with an ice-breaker, introducing one another’s background and specialization. It was followed by a 2-piece performance by Tristram. The first of which involves the heavy use of the trumpet and the mimick of sounds of how an angel would sound like. The idea of the piece was derived from the common association of the trumpet with the angel in traditions and believes. The second piece involves the heavy use of the body as a percussion. After Tristram’s performances, we proceeded to watch Prue’s video showcase of a work she was involved in before. The concept of the work reflected the relation between time and space. The environment that the performers were acting in were fun and interesting. We then carried a short brainstorm exercise where we attempted to come up with our own ideas regarding Time-Space relations. Finally, we carried out practical activities regarding those Time-Space concepts and presented them at the end of the day.
On Day 2, we started by watching a video entitled “William Forsythe – One Flat Thing reproduced 01/03”. It was an important piece in Europe and Prue was featured as one the dancers. In the video, the dancers danced around the tables and there were no conductor or music then. They relied on internal clock and took cues from one another. We were then introduced to an analysis software “Synchronous Objects” and the concept of alignments, which was the flow of moves of the dancers. The software was able to provide more detailed information such as analogous shapes, related timings and corresponding directional-flows. These enabled a school or company to analyze the dance piece more effectively, allowing their dancers/students to learn the piece more efficiently. The software is also able to depict and show the cues from person to person, provide drawing tools based on the dance, architect tools based on the dance and is able to show 3D alignment forms. The piece itself was originally choreographed for the stage, and only after that for the video. In the early stages of the production, rehearsals started with just 1 table. The number of tables then gradually increased as more ideas were formed. After the video presentation, we then proceeded with practical exercises revolving around similar ideas in both groups of 3 and 6 till the end of the day.
On Day 3, we discussed about Timothy McCormack who was responsible for the music of One Flat Thing, reproduced. We went through the score and soundtrack of the piece. Following which, we discussed about Aaron Cassidy who collaborated and was a big influence on Timothy McCormack. We talked about how the subjects of the body and physics were brought into his music (e.g. composing, creating gestures, events and friction etc.). After that, we discussed about Daryl Buckley’s past works, which involved experimental sound sessions using the lap steel guitar with effects. He incorporated the use of friction/resistance methods into the technical aspect of playing as inspired by Aaron Cassidy, such as using weird/unconventional right and left hand postures (e.g. flipping hand/palm upside down). Tristram then performed a piece which involves the concept of ‘working’ around the clock. The music score was 12 pages long and featured cycles of different lengths. For instrumentation, he used a prepared flugelhorn with aluminum foil-like material stuffed into one of the valves, which caused a trumpet-like sound. We then proceeded to watch a video regarding playing instruments according to dancer’s physical motion. To experience the process, we simulated an exercise regarding ‘sensing’ bodies in an area relying on a feeling akin to animal-like instinct. The exercise involved walking closed eye and paired testing/walking. After the activity, we watched a video regarding spatial contemporary notation for guitar. The Warhammer universe, a tabletop roleplaying game, was adopted as an example where the mentality is derived from (e.g. the board story => mind, similar to the Score => mind). We discussed about the concept of containment schema (e.g. clothes, plane, bus etc.). After which, we proceeded to carry out practical exercises where we have to come up with a diagram metaphor and then present the interpretation of the diagram.
On Day 4, we discussed mainly about the Artistic-Entertainment conflict of an artist/performer. We then carried out the discussion activities in duos and trios about Entertainment vs. Artistic values. Towards the end of the day, we also talked extensively about the meaning of discussion in itself, and also the meaning of a performance. Finally we closed off the 4-day workshop with a session of closing words and reflections.
All in all, I felt that I’ve learned many valuable different perspective from other artistic fields. I’ve also acquired skills on learning how to ‘see’ and appreciate other forms of arts, which I find very interesting and satisfying. Generally, I felt my horizon as a musician is vastly widened and the benefits of this workshop will bring me a long way from here on out. I am currently looking forward to the next few series of workshop in the near future.
[Sounds so official hahaha]
