Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 10 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 9 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 8 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 7 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 6 of 10. For the complete series see Ref. D2069-D2078. This piece was performed at the Battersea Arts Centre, London.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 5 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 4 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 2 of 10. For the complete series see Ref. D2069-D2078.
Part of Sacred, a season of contemporary performance at the Chelsea Theatre, London, 19 October 2012 – 1 February 2013. No. 1 of 10. For the complete series see Ref. D2069-D2078.
Performance Film Installation is a new publication designed to mark five years of solo and collaborative performances, films and installations by Natasha Davis, and coinciding with the London premiere of Internal Terrains at Chelsea Theatre as part of Sacred. A diverse range of authors and artists have generously responded to an invitation to provide insights into various aspects of Natasha's practice.
Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011. This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249)
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Fred and Ginger meet Barry Manilow in this ‘carnival in a closet’ dealing with an imagined Rio de Janeiro. Part of Sacred, Chelsea Theatre, London, 24-28 November 2011.
Fred and Ginger meet Barry Manilow in this ‘carnival in a closet’ dealing with an imagined Rio de Janeiro. Part of Sacred, Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.Thelma Bonavita, Eu Sou Uma Fruta Gogogia (I am a Gogogia Fruit) – Second performance at the Sacred 2011 festival
How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in?
Programme notes:‘Let’s get this straight folks, Bull: The True Story was a pack of lies, a cover up, it was a performance set up to upstage the truth.’ The Making of Bull: The True Story unravels mysteries…including the mysteries of why we make art and how our art makes us. It questions what’s real and what’s fake. Inspired by the film Fargo, which proclaims in its prologue, ‘This is a true story’, Hawaii-born Makishi finally comes out and tells the whole truth as she brings forth an elliptical tale trying hard not to tell itself. Just what is she hiding? You’ll have to see it to believe it. Stacy Makishi is a Chelsea Theatre Associate Artist. Preceded by a short performance by an early career artist on the bar stage. Post show Q&A with the artist. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Programme notes:Suspended in the space between two worlds, can one of them ever become home? How do memories preserve identity? Does dust ever settle on the past? Does grass grow over it? Natasha Davis’ third solo show completes her trilogy on body, identity and migration. Her poetic journey evokes migratory bodies burdened with past memories, present fears and future anxieties.Created in collaboration with Martin Langthorne and Bob Karper and with generous mentorship from Ju Row Farr and Dominic Johnson.Preceded by a short performance by an early career artist on the bar stage. Post show Q&A free to ticket holders.
Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist. A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. Symposium Notes
Chelsea programme notes:In a world consumed by identity crises and at the same time dominated by advertising, how might a humble being begin to claim back space?Director Richard Maxwell: “ADS captures and refines questions I have been thinking about for a long time. What is presence? What does absence provide? What is it about performance that I like? What is it about people that I like? ” ADS offers participants an opportunity to publicly state their beliefs with one stipulation: Be sincere.”Boundary-pushing…suggests…you can create humane, affecting works of theater without the literal presence of human beings.” – Charles Isherwood, The New York TimesConceived and directed by Richard Maxwell for New York City Players
Followed by post-show discussuion.
Chelsea programme notes:At Art College Chris Dobrowolski discovered that art could theoretically be anything. He made a boat from driftwood and tried to escape…he failed. This led to a series of vehicles from recycled materials all with a deliberate “knocked up in my garden shed” feel about them.In his continuing attempt to escape the art world he has been to the Antarctic with the British Antarctic Survey. His performance lecture will concentrate on his efforts to relate to this blank canvas and his attempt to justify his existence there, whilst everyone around him tries to save the planet.
Video documentation of installation work.
Performance documentation. Includes post-show talk.
Cabaret documentation.
Followed by post-show discussionSacred programme notes:Begin with a tree whose roots embrace a gaggle of displaced gravestones, and add the question: what’s the difference between pain and itch? The earth moves, old-time film stars dance, and a description of happiness from 1938 sounds as melancholy as a Victorian epitaph
Event documentation.
with post-show discussion
Three ordinary, awkward people address audience members directly in a witty, frequently disastrous attempt to show them how to live a better life. Provocative writer/director revisits one of her company’s most outrageously funny works
followed by post show discussion with Karen Christopher
Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249)
Sacred archive. Documentation on DVDs ref D1396-D1421.
Chris Dobrowoski reveals his increasingly bizarre attempts to escape art school and the whole art world.
Part of Sacred Season at the Chelsea Theatre, 28 April – 10 May 2008 (For full programme see REF. P1132).Video documentation, part 2 of 2. For 1 see REF. D1061.End missing.
Chris Dobrowoski reveals his increasingly bizarre attempts to escape art school and the whole art world.
Part of Sacred Season at the Chelsea Theatre, 28 April – 10 May 2008 (For full programme see REF. P1132).Video documentation, part 1 of 2. For 2 see REF. D1062