Image ref for Dancers: Fat Charlie, Big Edna and Champagne Girl.
- “Great Blue Cannibalism Tribute To Tennessee Williams”
Image was projected onto the back wall and hung like a painting during our first reading. My aim was to invoke a sense of Fat Charlie and thus link the dancers world (Big Edna & Champagne Girl) with Tye and Jon. Yves Klein is a famous misogynist, and his painting provided the aesthetic that I was needing to illustrate a world.
Dancers | people that Fat Charlie manipulates
Yves Klein gave his guest a drink that turned both their tongues and their urine blue | Fat Charlie & body manipulation.
Dancers | Fat Charlie manipulates
| reference materials for inspiration |
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side note | in my poetic voice:
One Act to Cinematic Event created a contact sheet and listed me as a dancer…..I am happy you consider me a dancer….Carolee Schneemann would be most pleased to see this mistake …Given that I am a filmmaker.
…
you are charming
but don’t ask us
to look at your films
we cannot
there are certain films
we cannot look at
the personal clutter
the persistence of feelings
the hand-touch sensibility
the diaristic indulgence
the painterly mess
the dense gestalt
the primitive techniques . . .
The filmmaker finishes his remarks by telling Carolee Schneemann that she is not “a filmmakers. . . . We think of you as a dancer.” This performance vividly links together a number of elements relevant to feminist theory in relation to the postmodern subject. The performance refers to her insistence on “personal clutter,” highlighting the feminist perspective on the personal as the political, but also contrasting ‘masculine’ from ‘feminine’ modes of addressing the world; not that these are necessarily biological modes, but derived from the different ways in which men and women, constructed and conditioned as such, experience the world. As is clear from Schneemann’s example, the feminine mode is devalued by the male-dominated art world for its lack of logic, rationality and distance (attributes Derrida identifies in “phallogocentrism”_. Schneeman’s “personal clutter” thus defies conventional (male) preference for artistic detachment:
[Her works] are personal, not only in the usual sense of being based on particular experiences of the author, but in a radically different sense as well; they are conceived as artistic accretions delivered to the reader or viewer by Scneemann from “inside” the emotional environment within which they develop. Wordsworth recollected in tranquility and then wrote; Hemingway sometimes wrote to release the pressure engendered over a periods of time by particular past experiences. [Schneemann] wants to use the making of a work to preserve, consider and reorient the process of the emotion (and the illumination/confusion it brings) as she experiences it. . . . [She works] from a position of intimacy, not from a position of distance.
This “position of intimacy” is one of the most noteworthy characteristics of women’s performance, and one of the primary appeals of the genre for women. As Cathrine Elwes (herself a performance artist) notes, “Performance is about the ‘real-life’ presence of the artist. She takes on no roles but her own. She is author, subject, activator, director, and designer. When a woman speaks within the performance tradition, she is understood to be conveying her own perceptions, her own fantasies, and her own
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TateShots: Yves Klein – Anthropometries
http://youtu.be/gj9nHa7FtQQ
http://www.youtube.com/watch?v=gj9nHa7FtQQ
NOTE: Using Yves Klein as a visual reference works (for me) since Klein’s ‘body’ (of work) reflects the same misogynist aspects that I imagine Fat Charlie’s character would own. Klein’s painting works to illustrate the presence of Fat Charlie in the room, and thus the aesthetic effectively mirrors (if not activates) the same elements oppressing Jon and Tye in their relationship. Plus all the blueness is “showing” the audience a part of the play that I do not have time to give them in a dialog. Furthermore, by playing with the dancers in this way too, by having them enact parts of the play that our ten minuets cannot give the audience any other way, is, I think, a beautiful way to show the women’s world–to continue that part of the story. Having the dancers embody Big Edna (as the black trans woman in love with Champagne Girl (who is a white woman that Fat Charlie is in love with.)) is perfect.
*****The mobster element between my piece and Sara’s really does link nicely.
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Look and see if anything resonates for this coming Monday’s reading.
MAIN PAGE | MACBA: Museu d’Art Contemporani de Barcelona: http://www.macba.cat/
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OMG somebody needs direct “Moony’s Kid Don’t Cry”
Maybe the dancers will be inspired?
Check out this photo — can you just see the dancers working this piece!!!!
Moony’s Kid Don’t Cry
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I’ve been interested in using lights with the dancers in a way that reflects the city life. One thought has been to do something like Diffraction :: Swiss Dance Awards
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DARK SIDE OF THE MOON
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Chrysta Bell ‘Real Love’ David Lynch
Okay, since our last class it seems like the screen idea is not going to work and I don’t think the lights will add what we need either. So lets try the two dancers in sexy costume like this video and I”d even like to see their movements intimate like this too…. Champagne Girl as the “doll” in this video?
inevergetdressedtillafterdarkonsundays 