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
| Artist / Author | Haranczak/Navarre |
|---|---|
| Reference | D1529 |
| Date | 2010 |
| Type | DVD |
This book explores the practical, philosophical and aesthetic implications of performers working in pairs. It focuses on a ten-year period in the work of Karen Christopher, alongside wider reflections on the duet as a concept in artistic and social life. The book presents an investigation of the entanglement of form and practice seen through the lens of the smallest multiple unit of collaboration: the pair.
Paper leaves and other constructions
a reading companion to Always Already
compiled and edited by Karen Christopher & Tara Fatehi Irani
Always Already is an 8-hour performance installation by Karen Christopher & Tara Fatehi Irani, which uses materials, text, sound and movement to explore the weaving together of plant, human and machine, including human/plant and human/machine hybrids.
Paper leaves and other constructions is a 32-page booklet, introducing the themes and content of the project, and responding to many of the questions that arose in the creative process. Drawing parallels between a path through life and one through the making of a particular work of performance, the booklet answers the question “how did you do that?”
The booklet includes contributions from Karen, Tara, Payman Kassaei (Professor of Mathematics, Kings College), Felipe Ribeiro (performance artist and researcher), Omikemi (poet), Eirini Kartsaki (performance writer and teacher), and an interview with Henry Dagg (sound sculptor and builder of experimental musical instruments).
An interview focused on An Extraordinary Rendition, performance created in response to the work of Goat Island. In misc. folder 7.
A video essay reflecting on the work and process of Forced Entertainment combining interview fragments, performance excerpts, backstage and rehearsal room material from diverse projects, focused around an excerpt from the group’s 2001 performance First Night.
Part of LADA Screens 15.
While considering repetition in relation to the difficult pleasures we derive from the theatre, this book explores ways of accounting for such experiences of theatre in memory and writing.
A new book about “do it yourself” performance, with contributions made by over 30 arts practitioners and collectives. It’s a sequel of sorts – or rather; a continuation – to a recent text that platformed a growing community of voices in theatre, art, dance and performance making.
An extensive series on Lin Hixson and Goat Island.
Aims to articulate and contextualise an ethos and practice within contemporary art called “DIY” theatre and performance.
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. 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.