Over the course of 16 months Ithe artist took about 200 photographs of their reflection in the window of a derelict shop on Windsor Avenue, Fairview, Dublin 3. 52 images were selected and each is accompanied by a piece of text.
A study of post-millennial solo performance in the UK and Western Europe that explores the contentious relationship between identity, individuality and neoliberalism.
Part of Library of Performing Rights (P3041).
Peformance video: The Yard Theatre, London, January 2018 (1hr)
For a digital copy see EF5286.
Performance video: The Marlborough Pub and Theatre, Brighton, 2015 (42mins)
For a digital copy see EF5286.
Includes:
– video of Bi-Curious George and Other Side Kicks, The Yard Theatre, London, January 2018 (1hr)
– video of Britney Spears Custody Battle Vs. Zeus in Swan Rape Shocker, The Marlborough Pub and Theatre, Brighton, 2015 (42mins)
– cartoons
Four monologues, interspersed with game-show antics requiring audience participation.
53 minutes. Unknown date.
This DVD is currently missing. The digital file can be viewed in the Study Room. The reference is EF5201.
Four monologues, interspersed with game-show antics requiring audience participation.
53 minutes. Unknown date.
Two parts documentation of performance offering varied interpretations on the aging female solo performing body. Presented in the context of “Fem Fresh” (Sunday 8 June 2014), a collaboration between Queen Mary, University of London and the Live Art Development Agency, featuring presentations and dialogues on, about, and around feminism and age in Live Art.
First 17 minutes: experimental video with dolls, shoes, colour overlays etc. (content unidentified, possibly off-air recordings); then venue interior shots and Neil Bartlett in solo rehearsal or performance. Venue unidentified but possibly Battersea Arts Centre, which would make this 1987 and the earliest version of the piece. Performance section followed by music videos, film excerpts etc. (presumably recorded off-air).Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
Performance piece after the novel by Mary E Braddon. With Neil Bartlett, Nicolas Bloomfield, Annie Griffin, Leah Hausman and Luke Williams. ICA, London, 1988.Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
Venue interior shots and Neil Bartlett in solo rehearsal or performance. Venue unidentified but probably Battersea Arts Centre, which would make this 1987 and the earliest version of the piece. Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
A work for the theatre written and performed (solo) by Neil Bartlett, presented by Gloria theatre company. Recorded at Butlers Wharf, London, 1987. Decor by Robin Whitmore. Music by Jeffrey Hinton.Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
A work for the theatre written and performed (solo) by Neil Bartlett, presented by ICA Live Arts. Recorded at Butlers Wharf, London, 1987. Decor by Robin Whitmore.Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
A work for the theatre written and performed (solo) by Neil Bartlett, presented by Gloria theatre company. Recorded at Butlers Wharf, London, 1987. Decor by Robin Whitmore. Same performance as REF. D1980 but this version has no opening titles and ends prematurely. An undocumented voice over from another programme plays over the top of the recording from the beginning until 10 min. 35 sec.Part of the Neil Bartlett Collection. Donated to the British Library and the Live Art Development Agency Study Room from Neil Bartlett’s personal collection.
Video document of performance. With movements both hers and of other choreographers, Denise Stutz guides the audience through a personal and emotional history of Brazilian contemporary dance. The memory of the body and its relationship to identity – as well as how this is inscribed in space and relates to the public – motivate and shape this solo.
Video document of a journey of recollection through embdied and spoken narratives drawn from a number of reference works by the artist.
Performance texts and documentation from queer solo performances.
Artist documentation.
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
Dedomenici attempts to take a full length photo using a photo booth.
A sequence of 6 solo performances, each made alternately by Hancock and Kelly in response to the previous piece, made by the other.
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.
Performance Matters 5th October 8.30pm.Musical Pieces / I Wanna Be in That ShowAugusto Corrieri and Owen ParryToynbee Studios.Part of an ongoing investigation into solo performance, Musical Pieces explores the deceptive qualities of perception and attention offered by the theatre, playing with different forms of on-stage concealment and trickery.I Wanna Be in that Show is a performance about wanting to be in a performance. It draws on the feeling of seeing a performance and recognising one’s own desire to be in it or to have created it. It’s about art that drives you to make more art, to revel in its forms and textures and to question the bodies that occupy it.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Journal of Writing in creative Practice Volume 2 Number 1
Produced by Internationales Sommertheater-Festival Hamburg ’90. Photographic documentation by Carme Masià. Spanish and English.
Contains extracts from My Husband is a Spaceman, Evidence for the Existence of Borrowers and work by the cult-alternative pop performance group Frank Chickens.
Footage of the performance presented at the Battersea Arts Centre in May 2000.