Norwegian Theatre Academy, Fredrikstad (3 week course), 2010
Norwegian Theatre Academy, Fredrikstad (2 week course), 2007
Tate Modern, London (2 day intensive), 2004
Turku Academy, Finland (1 week course), 2000
In this workshop we will think about how ‘self’ can be used as the material for performance. We will consider the possibilities of the diary, the confessional, the autobiography, the self-portrait, the signature, and the trademark, in an attempt to configure what is constituted by the ‘I’ in performance practice.
After an introduction to the use of performance in non-acting based artworks (especially live and performance art) emphasis will be on devising and employing practical strategies for making playful autobiographic performances.
[Please bring two photographs of yourself from your family album: one when you were a child and one more recent. Please also bring one additional personal possession that has some relevance or importance to you.]
Recommended Reading:
For those of you who are not familiar with modes of performance that are non-acting based you might find the following text of interest:
• Michael Kirby, ‘Acting and Not-Acting’ in The Drama Review Vol.16 No.1 March 1972, reprinted as Chapter 1 of A Formalist Theatre (Pennsylvania: University of Pennsylvania Press, 1987)
As an interesting starting point for thinking about how we might perform an ‘I’ the following short text on diary and journal writing is excellent:
• Roland Barthes, ‘Environs of the Image – Deliberation’ in The Rustle of Language (California: University of California Press, 1984) p.359