Tuesday, 13 February

Today it was a very productive day.

I had my first rehearsal with my dancers on the piece “Body Pressure”, one of the Seven Easy Pieces of Marina Abramovic. Though it might seem really nothing, the dancers reached what I wanted them to understand: pushing against a wall can become easier, more exhaustive and more natural all in the same moment. As they told me, they felt good towards the end. This is good… Because they are going to be repeating it hundreds of times!

Also, afterwards we had an Examining Choreography class, where we performed our own scores inspired by the Seven Easy Pieces. I chose the “How to explain pictures to a dead hare”.

Jamie, my classmate, performed a piece inspired by “Conditioning” and it was interesting because we participated, too. I had to tape his feet on the wall. It was very creative for me and I was feeling I had to make many decisions, as to where to put the tape, if I hurt Jamie, how fast to do it… Because I was running out of time.

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In the end of the class, Kayla Bowtell, our teacher, gave us her score on “Body Pressure” and “Seedbed”. She gave us two eggs and was giving us tasks: tie the egg on your heal, move forward, find each other with your eyes closed, look at each other with your eyes closed, now look at each other at your own time, start using Body Pressure based on the text (where Jamie was pushing me with so much strength, I really feel my back ache!), then we had to rest on/in each other, create 3 poses for each other’s body and repeat 30 times and when we finish, sit down and look at each other, move the chairs towards or far from each other and then the Body Pressure text was on again. So exhausting…

But, I can feel so inspired today. It is amazing what bodies can do, if you don’t tell them to dance, but to just push or use their minds for their bodies! I, also, feel changed. Like I gave a fatal punch to a brick wall of limitations in my mind.

4.2 Ghost dance: time and duration in the work of Lone Twin

Gregg Wheelan in conversation with Tony Gardner (pp. 97-102)

  • The use of video and other digital technologies to manipulate the passage of time in contemporary media performance can create a sense of the extemporal,
    or “time out of time”.
  • Durational works can mark out and frame a special time in the ongoing flow of the everyday as a privileged space of performance.
  • Marina Abramovic has spoken about creating a special kind of time through her durational pieces, arguing that
    artist and spectator must “meet in a completely new territory, and build from that timeless time spent together”.
  • It is dramatic to end something that has been going on for what is largely considered a long time.
    But the idea of an ending does create something of heightened sense of being together.
  • Giving something a lot of time allows for all sorts of things to happen – it creates an opening, a field of possibilities.

 

Pitches, J., and Popat, S. (ed.) (2011) Performance Perspectives: A Critical Introduction. New York: Palgrave Macmillan

7 Thoughts about Seven Easy Pieces by Marina Abramovic

≥ It manipulates the repetition and temporality[1]

≥ It keeps a relationship with body and architecture and performance and photography[2]

≥ It demonstrates that all understanding occurs through embodied acts of attendance, which occur in time and must be repeated.[3]

≥ Abramovic’s body becomes a metonym for the performances that she re-performed[4]

≥ It addresses duration, physical stamina, myth and intensive states of mind, such as attentiveness and focus[5]

≥ It is about re-performance , habits, ritual, deprivation, purification, privacy …[6]

≥ …and exhaustion[7]

 

 

[1] Santone, J. (2008) Marina Abramović’s Seven Easy Pieces: Critical Documentation Strategies for Preserving Art’s History. Leonardo. Vol. 41, No. 2, pp. 147–152
[2] ibid
[3] Shalshon, L. (2013) Enduring Documents: Re-Documentation in Marina Abramović’s Seven Easy Pieces. Contemporary Theatre Review, London: Routledge,  Vol. 23, No. 3, 432–441
[4] Powell, B.D. (2010)   Seven Easy Pieces and Performance Document(ation)s. Theatre Annual 63. The College of William and Mary. pp 64-86
[5] Emerling, J. (2010). Marina Abramovic: The Artist Is Present: Museum of Modern Art, New York. X-tra: Contemporary Art Quarterly, Vol. 13, pp.26-35
[6] ibid
[7] ibid