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civicreflex_poster

PERFORMANCY FORUM: CIVIC REFLEX is a collective performance/social art project involving: 1) the formation of a self-reflexive collective of 20 artists/groups 2) a series of 5 public forum events and 3) an online blog substantiating and framing “civic” “civil” and “reflexive” performance practices and performative theoretics. PERFORMANCY FORUM: REFLEJO CÍVICO es un colectivo de arte social y performance  que consiste en: 1) la creación de un colectivo de 20 artistas/grupos que se comporte de manera auto-reflexiva 2) una serie de 5 eventos/foros abiertos al público 3) un blog online dedicado a proveer contexto y enmarcar teóricamente prácticas de arte performático, civil, cívico y auto-reflexivo.

http://reflejocivico.civicreflex.us/

The 20 artists/groups will meet on each of the five Saturdays for collective forum discussion and interaction, followed by performances/presentations/situations on each date starting at 8pm, FREE AND OPEN TO THE PUBLIC.

April 21, 8pm. Public performances/presentations by: Diane Dwyer, Benjamin Lundberg Torres Sánchez, Rina Espiritu

May 26, 8pm. Public performances/presentations by: Pei-Ling Ho, Daniel Gonzalez, Nana Ama Bentsi-Enchill

September 29, 8pm. Public performances/presentations by: Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.)

October 20, 8pm. Public performances/presentations by:  Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña

November 10, 8pm. Public performances/presentations by: Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung, David Ian Bellows/Griess

CIVIC REFLEX/REFLEJO CIVICO is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). The project is administered/conceived by Esther Neff, participant selections were made by the PERFORMANCY FORUM committee via an Open Call.


Please visit PPL on Facebook and the PPL Website for Event information

VISIT THE PF:QUINQ WEBSITE

PF_OVERALLPOSTER

PERFORMANCE FORUM QUINQUENNIAL is a 12-day conference October 8-25, 2015:

conference = a situation during which persons confer
conferance = a “con” like “comicon” for makers and fans
conference = a culmination of a period of labor
conference = states of being and becoming together

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Thursday, October 8: N/A PARTAY
Friday, October 9: FEELING YOU LIBERATES ME
Saturday, October 10: FEELING TOGETHER
Sunday, October 11: ESCAPING FROM HELLWOR(L)DS
@
Grace Exhibition Space

Thursday, October 15: IN COMPLEXITY OF
Friday, October 16: SYMBOLS OF FREEDOM + GLORIOUS MADNESS
Saturday, October 17: INTENTIONALITY, LONLINESS, COMMUNITY
Sunday, October 18: RESISTING CAPITALISM
@
Panoply Performance Laboratory

Thursday, October 22: TRAUMA SALON
Friday, October 23: CORRUPTING FLESH
Saturday, October 24: MOVING TOWARDS MULTIPLICITY + FLEXIBILITY
Sunday, 25: PURSUING IDEATION
@
Grace Exhibition Space

╳╳open to the public every day╳╳
╳╳sugg. donation $10-30/day, no one turned away╳╳
Beverages lovingly provided by Brooklyn Brewery

PRESENTERS/ORGANIZERS/ARTISTS:

Adriana Disman, A Feminist Collective, Alex Romania, Alice Vogler and Jessica Gath, Angela Freiberger, ANGELI, Anja Morell, Anya Liftig, Baxton Alexander, Ben Bennett, Bobby English Jr, Britta Wheeler, Butch Merigoni, Chloe Bass, Chun Hua Catherine Dong, Daniel Larkin, David Ian Griess, Dolly Dharma, Édgar Javier Ulloa Luján & Laura Blüer, Emily Oliviera, Emma-Kate Guimon, Esther Neff, Florence Nasar, Grace Exhibition Space (Jill McDermid and Erik Hokanson), Hiroshi Shafer, Hoesy Corona, Honey McMoney, Hrag Vartanian (Hyperallergic), Ian DeLeon + Tif Robinette (aka AGROFEMME), Ivy Castellanos, Jenna Kline, Jon Konkol, Julia Croft/Future Husband, Kaia Gilje, Kerry Cox, Kikuko Tanaka, Leili Huzaibah, Lital Dotan and Eyal Perry (Glasshouse Life Art Lab), LJ Leach, Lorene Bouboushian, Marcelline Mandeng, Matthew Gantt, Meli Sanfiorenzo, Michael Newton, Naked Roots Conducive, Nathanial Sullivan, Nicole Brydson, Panoply Lab, Quinn Dukes, Rae Goodwin, Raki Malhotra, Rebecca Beauchamp, DIVERSITY FELLOWS, Robert Lisek, Shawn Escarciga, Social Health Performance Club, Soufïa Bensaïd, Sura Hertzberg, Thomas Albrecht, Valerie Kuehne/The Super Coda, Fauziya Sani, Zhenesse Heinemann, Alex Romania, Tatyana Tenenbaum, Tsedaye Makonnen 

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PERFORMANCY FORUM QUINQUENNIAL marks 5 years of the platform PERFORMANCY FORUM, a project supporting and debating performance practices since 2009, organized by Panoply Performance Laboratory’s Esther Neff and the anonymous, flexible entity known as “Brooklyn International Performance Art Foundation (BIPAF)”

http://panoplylab.org/quinquennial/
http://www.performancyforum.com/
http://www.bipaf.net/

ORGANIZATIONAL STRUCTURE:

Performance of organizing the conference is in three layers, beginning as a series of diagrammatic interviews 
12 AGENDAS were synthesized from these diagrams.
Presenters made responsive abstracts to these agendas, which can be found HERE.
Finally, from October 8-25, 60+ responsive presenters self-organize and produce three weekends of a public conference.

Please e-mail panoplylab@gmail.com or bipafbipaf@gmail.com with any questions or inquiries.

 

The processual dance-opera Any Size Mirror is a Dictator continues, with guest artist David Ian Griess (also check out his videography of the project HERE and more images/art he made HERE). Photos by PPL.

Thank you to Live Arts Collaboration and The Performance Project @ University Settlement for hosting us Monday night!

PPL got to break the ice with an audience on Monday night during a Salon evening where we performed the first 15 minutes of ‘The Last Dreams of Helene Weigel or How to Get Rid of The Feminism Once and For All’ alongside performances by ThingNY Artistic Director (and PPL Collaborator!) Paul Pinto and Latasha N. Nevada Diggs among others.

Afterwards, Matthew Lyons (the Kitchen) led us in a talkback session.

This salon, done in the beautiful wood-floored room at University Settlement on 184 Eldridge in the East Village, had a decidedly Modern, formal flavor, while the PERFORMANCY FORUM we held on Friday, May 7, was punctuated by Dr. Motorcycle, the black and white cat, pawing at moving images on the projector screen, and included a lot of informal conversation and laughter.
PPL is especially delighted to get to know the PERFORMANCY FORUM participants:

The SK Orchestra
John Mellilo
Gratuitous Art Films
Genevieve White
Audrey Blackburn
Tom Swirly
Orly Bendavid and Ari Swan

Hector Canonge
and films by Marguerite Chandler (one of which was banned at the Archive)

THANK YOU TO ALL FROM BOTH SALONS!

it’s fun to make a trailer in the spring-time…’The Last Dreams of Helene Weigel or How to Get Rid of The Feminism Once and For All’ will have a LIVE preview:

Monday, May 10 at University Settlement, 8pm. We perform an excerpt (scenes 1,2) as part of the Live Arts Collaboration Series.
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Wednesday May 25 ON WEB TV on postTV.org live from Cabinet Magazine Event Space.
&
Workshop Performances Friday and Saturday at 8pm July 15 and 16th at ABC No Rio


The bottom line is, a person can read all the Hans-Thies Lehmann, all the  Antonin Artaud (isn’t he handsome?) and “post disciplinary” “performance theory” one can fit in through the eyes and still have to learn through hand-to-hand combat, all while maintaining the reality in which performance is a crucial operative. This is the first in a series of posts about Process and Time.

SOCIALISM AND THEATER

In the contemporary, Western AVANT-GARDE THEATER,  pieces are often created in-rehearsal by a team of theater artists, and often spoken about as being “DEVISED,” “BUILT” or “DEVELOPED.”  A collaboration between a playwright and a director is acceptable, a team of collaborators is even more cool. PPL also admires SOCIOLOGICAL THEATER which includes documentary processes, and an array of sustainable community-involvement tactics, usually a collaboration between professional theater artists and the “material public” with the process being the bulk and purpose of the project, not the final product. This kind of thing is VERY “cool” and is supported by organizations like FEAST and the Sparkplug Foundation as well as the canon of funders.

Now PPL likes processes falling into these two latter categories not only because they have theoretical support, have parallels to social democratism, and all good things for which we fall head over heels, but because they SEEM like something we want to do, we are in our mid 20’s after all, and want to be APPROVED OF! These things are POPULAR! And often effective to boot.

However, we are discovering now that our work is not particularly well suited to these practices. It is, for one thing, structural, not collage-based in the way that division and sociological practices encourage. It is made as part of an artistic dialectic, and a political dialectic, as well as a vague, liberal one.  In short, PPL has something to say, a MESSAGE. Now here, before one even gets into the debate about propaganda, messages, etc, one runs into all kinds of sticky truths about collectivity, division of labor, individual artistic vision, etc. It’s really the same difficulty in reconciliation between experience and hypothesis that one always confronts regarding collective political and social theories and their practices.

So what we’ve ended up doing is writing the text first from research, interviews, and other means, and then trying to rehearse the piece while writing the music to the text, and while editing the video, etc. The in-the-moment cooking, in terms of music composition,  lends the process the flavor of division, because we include collaborators’ opinions, but not really the nutritional benefit. (What we are currently looking for is a whole new food now, not just ham water.) In addition, realtime composition is EXTREMELY taxing on Brian, the composer, who must constantly adjust and write, transpose, scurrying to print notation before rehearsal. So after many discussions about this, PPL wonders:

Does writing the whole book before rehearsals are begun detract from the role of the actor as a theater artist? What might other detriments be? And on a question we’ve heard voiced by many young playwrights, is it ok to write/create something that is finished and doesn’t need “development”? Are these archaic processes acceptable? Does making collectively-created work really compensate for the tendency theater has to be driven by Caucasian men? (and to whom are we trying to be acceptable, when all of the proposals we make are made to spaces, centers, and organizations who SUPPOSEDLY support the avant-garde and its experimentation, not the a la mode?) (and is “division” merely a trend? or the thing that will save theater from itself? Is it a reaction to the supply of theater artists far outweighing demand?) Or is there another way of doing this that we have yet to discover?

Here are some contemporary American performance creators with varying processes:

CollaborationTown (devised collage plays by an ensemble, but recently, development and production of plays written by individual members of the ensemble)

Nature Theater of Oklahoma (Kelly Copper and Pavol Liška as directors/scriptors bring seed materials  into a collaborative process and develop a work in rehearsal)

Young Jean Lee’s Theater Company (Young Jean Lee is an auteur)

The National Theater of the United States of America (An ensemble of seven creates works together for a pool of often-worked-with actors)

Pig Iron (3 artistic directors and 5 company members create new works)

Performance Lab 115 (works created collaboratively by an ensemble of actors)

The Team (collaboratively devised work, the pure, unadultured kind)

Well, of course PPL will continue to experiment, debate, and adjust. We hope to hear some of your opinions!