[Realism Now!] [Perf Art MAIN page]
The Performed Danse
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See also: [(art) concepts]
[Art MovementsCoerced performance]
-[post post-modernism]-
[Performed Text]
[The Performed UFO's] (and esp, etc)
[Dada]
[Dadaism] (an art "ism")
[Performance frank: Realism Now!]
[Why Bother?]
[ "PARTS ONE, TWO, THREE" ]
[Performed Art]
[The Performed Art Act]
[The Performed Art Technology]
[Performed Art: Filmed]
[The Performed Performance]
[The Performed Score]
[The Performed Text]
[Performed UFO's]
[The Performed WEB (including programming)]
[Fluxus]
[Street Art]
[Interventionist Art]
[T.A.Z.] (Association for Ontological Anarchy)
(Hakim Bey, chief janitor)
[Frank's stuff]
The Performed Danse
On this page: {Intro}
{Stuff} - as a vis artist how i link / xlate
danse and progression TO / FROM / & BACK
painting - philip glass:
{Elements}
Intro
One thing to remember is that we are ARTISTS not mimes or actors or danceurs.
Thus, the aesthetics of what we do will of course possibly border on those
areas of art - we might even donn as costume, sing in key, use an instrument
(see: [The Performed Score]), etc.
But, the "what-ness" of our work should originate more from our existence
as an artist rather than our performance as if we were an existant actor,
singer, danseur, etc. For example, the artist knwon as "Lightening Man"
often dresses as shaman (or spirit) and performs danses and song (with
and without external music - usually a boombox), but as "he" is an
artist his work should not and i would go so far to say MUST NOT be
confused with the performance by a shaman of a tribe, etc. Even if
Ligtening Man has been *ordained* as a shaman into a tribe, etc.
If an actor dressed up as a cop (Constable On Patrol) then it would be
just as wrong for the person to make an arrest, chase people, etc. For
example, the theatre teacher Darieese Error once had her make-up class
dress as monsters and/or horror/murder characters; eg, a third eye in
the fore-head, "frankenstein scars", etc. And then had them (as playing
straight) go and apply for summer jobs - there were job recruiters on
campus in the Student Services Building.
In that case, i would say that they were (formally)
Acting students (ie, students of acting/theatre/make-up) who
were assuming a role which was "themselves in make-up".
or
Artists performing "a performed act".
Thus, being different from an actor (with or without make-up) performing a
role/character/scene. And of course, (if they chose not to speak) different
from a mime performing an act with sub-dued "mime-ness"; ie, the less than
usual exagerated and high-lighted/emphasised motions, facial expressions,
body language, etc.
Thus, even though they were *technically* actors, in this case they were
artists as well.
Does the assuming of the different mantles "artist" or "actor" ("singer", etc)
change the what-ness of what they were doing.
I'd have to say "sort of" - but, probably yes.
Unless we (as artists) have been trained as actors, it is unlikely that we
will bring the same bearing of mind, style, and even *aesthetics* to the
work, that we would if we were actors performing an "art performance piece".
Our training, POV (point of view), and mental states are what determine what
we are. In the same way mathematicians, physicists, and chemists think about
problems in different ways - and are only partially capable of "seeing" from
the other POV's.
Stuff
as a vis artist how i link / xlate
danse and progression TO / FROM / & BACK
painting - philip glass:
This occured to me while *way* too sobre:
philip k. glass: "DancePieces" - 1987 (i think - scrambled
on my computer:
the tracks are (as they are on my pc play-list)
T3 - gl upper room dnas 05 - 3:25
4 08 - 4:57
5 09 - 8:11
6 gl glass pcs 1 - rubric 6:04
It's the transition between the end of "track 5" and into "track 6" - if those are the
actual things -- yes, i've been "corrupted" by Koi-yah-nee-skahh-tszee
take in into track 5 to about 6:30 or so, and then let it run
past 7:50 -- mostly voice and such (and since it's the end
*presumably* of that piece it has that "lift" at the end.
but then next track is the strt of the next work (rubric) - this
goes back to some stuff that zappa did - that is *specifically*
the engineering of which track follows which - and not just
the FIRST (grabber; eg, "peaches and regalia") and the last
(exit music towards the doors - ie, rock concert "and thank
you mrs. callibash wehre-ever you are)....
so, this goes back to how i was approaching the painting of the
*prepared* canvas's in general
the parallels are (i hope/think) obvious to Nam Jun Paik's
piano-concerto with "wash/rinse/repeat" as well as cage's
"prepared piano - Ms. Lin tang on piano)
It would be good (when???) to prepare a sound-scape of those
three pieces:
nam jun
paik cage's prepared piano toy pianoa (1st movvment
on infinite repeat
/ this PHYSICAL
glass canyon / sound DIST needs
/ to be sort of large
/ since the TOY piano
/ will prob carry a
glass; last movement glass; "Glass pieces lot - plinky
of "upper room", dans 09 -8:11 1 - rubric 6:-04 \
last two mins on inf repeat (poss hole thing on inf loop) \
\ possiblly the "plinky"
((??track?? from the h2g2 film score)
but i'm thinking take off the last few seconds of each of these
(since they are UP-LIFT / FLIP-to-EXEUNT the work
moving either about the canvas, or moving the canvas around to entre/leave these sound
spaces.... hmmmmm
Again as with immersed/happening theatre these could be
stages where a person plays the music. In one of the
more offensive nazi (neo, carefully "oh, no we're not
that") everyone rushes onto the tennis court and the
V/O (Voice/Over) says: When everyone plays, then no
one wins -- sheesh talk about exclusionary.
At any rate *who-ever* is playing the music must be
(i don't really know that they *must* be, but anyway...)
TIED INTO the over-all rhythm. This goes back to
the idea (in classical music) of primary, secondary,
and etc. themes (melody and harmony, etc)...
Elements
In the article by Felix Begho, he has the following
diagrams...
References (this section only)
Asante, Kariamu Welsh (Editor) (2002). African Dance --
An Artistic, Historical, and Philosophical
Enquiry. Montreal: Africa World Press, Inc.
Begho, Felix (1994). Traditional African Danse in
Context. in Asante, Pp. 163-182.
(i will explode these below; after all even the blind love danse)
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Sacred Danses of the Spirits, Gods, and Goddesses
Sacred Masquerade Danses (the Masquerades being
personifiction of the
Spirits, Gods & Goddesses)
The root here is: Social function danses
direct off-shoot of the Sacred Masquerade Danses
* Traditiona Religions
* Cult Danses
* Ritual Danses
* Ceremonial Danses
* Entertainment
* Recreational
These in turn break down into Sacrd, social, ritual,
masquerade, acrobatic, and juvinile/fraternal/etc.
Traditional Religious Danses
Sacred Danse
Combined with Cult Danse can give: Sacred Danse
Ritual Danses: Sacred Danses
Facture of a good number of superb and
socially-rooted masquerades
Ceremonial Danses
Sectarian
Of the following: Masquerades are infrequent
feature, but not completely unkown
(Factional or Interest Group)
Age and Sex Group
Aristocratic
Nuptual & Procreative
Occupational Danses
Communal
Feature a good number of superb and socially
deep-rooted masquerades:
Harvest Festival Danses
Heroic Danses
Masquerades are rare but not unknown:
Funeral Danses
Coronation & Traditional Title Danses
Entertinment
Selected Masquerade danses
Acrobatic Danses - Masquerades not un-common
Medicinally Protected Danses
Recreational
Again, masquerades are rare, but not completely unknown.
Danses in Juvenil Games & Tales
Fraterna / Social Club Danses
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