What is a theatrical performance? by David Osipovich

Posted in Uncategorized on March 17, 2011 by project513


“So the kind of aesthetic liveness characteristic

of what we normally think of as theatrical performances

must involve interaction, or contention,

between performers and audience. Denying this

point means collapsing the distinction between

live theater and live television and obfuscating an

important aesthetic difference between the two

practices.”(Osipovich: pp 466:2006)


A review on recent reading

Posted in Uncategorized on March 16, 2011 by project513


To keep you up to date here is a review by Greg Giesekam on The Wooster Group Workbook. This book, as you may have read, is

“Aware of contentions around documenting performance in a way that pretends to reconstruct the stage event itself,”.

 As part of my research this book edited by Andrew Quick, has arranged my thinking in terms of practise. The book describes the performance process of the theatre company and the dynamic relationship between the live experience of a performance and performer, navigation of text and stage. The book is a result of working with theatre maker Elizabeth LeCompte.

A quote

““I circle around ideas, rotate the viewpoint.” This circling and rotating has always involves negotiating the mediating mechanisms of performance and the technologies of meaning production that exist both in the theatre and also in popular culture (including the various technologies of communication – sound, video, televisual as well as pictorial , cinematic and choreographic modes of expression). “(LeCompte: pp.9:2007)

The Icebook

Posted in Uncategorized on February 25, 2011 by project513


The makers: Davy and Kristin McGuire.

This is my favorite bit. “Rather than simply projecting images onto a screen, we wanted to create an object with a life of its own – a tangible and magical “thing” for an audience to experience.”  http://www.theicebook.com/Behind_the_Scenes.html

There is something about the whole “A miniature stage made of pop- up cut -outs” that I love too. In fact one of my earliest ideas for project513 was, and still is, to have cut outs in place of the real actor. My reason for this is to push my understanding of theatrical presence and liveness. I also have a weakness with tech stuff but I figure this is a good angle to enter at.

be to  and to depend on working on different realities , the optical, visual, fantasy and reality simultaneously.

“A paper theatre brought to life with light”

“The magic lantern has a concave mirror behind a light source that gathers light and projects it through a slide with an image painted onto it. The light rays cross an aperture (which is an opening at the front of the apparatus), and hits a lens. The lens throws an enlarged picture of the original image from the slide onto a screen” http://en.wikipedia.org/wiki/Magic_lantern

essentially this can happen  using two projections layered on top of each other. For this to work one projection should have a trace or static image drawn on the slide (say a tree). The second projection should be a video that allows the picture to motion (a person moving around the tree). How or if I can apply this technique for the cut out actors is a concept I will work towards. I envisage a video projected on to the cut out. I will explore using video how qualities of being alive such as breathing and moving, can be transfixed on to the cut out.

Now to put my money where my mouth is and try this out in the studio.


Presence and the Revenge of Writing: Re-Thinking Theatre after Derrida

Posted in Uncategorized on February 23, 2011 by project513


The Presence Project

Posted in Uncategorized on February 23, 2011 by project513

The Presence Project

first day in the studio

Posted in Uncategorized on February 23, 2011 by project513


Time and location.

This is an a short description on our conversation in the studio on narrative deconstruction and semiotics 

How will the performance be staged? Where will the audience sit/ stand?   Does a performance have to end? 

I was stuck on the notion of past, present, (future?) mediated, and live performance, (have I mentioned that there are no actors in this performance), and more specifically how material traces can be generated into each of these performance. The performance script that we intend to use is a short play that I wrote. It is not a linear narrative or even well structured play. This is in our favour. The scenes could actually be rearranged into any order. Could this mean that there is no ending?

Talking of time lead to a conversation on ephemerality and disappearance. We are always talking about documenting the process, but what happens when traces of liveness are generated into a performance that is never-ending?

Posted in Uncategorized on February 22, 2011 by project513

Some videos