ACTS RE-ACTS 5: Performance Lab 2 March

FIVE, set up for 'Obscura', Acts Re-Acts 4, February 2017

02 Mar 2018

2pm to 8.30pm


Wimbledon College of Arts: Performance Laboratory

Friday 2 March, 2 - 8.30pm


Time: 14.00 – 14.55
Venue: Film & Video Room
Event: Henry Bradley, GLOSSOLALIA (55m)

A screening of Bradley’s recent video work. GLOSSOLALIA parallels a method acting class, in which actors are trained to access and utilise their unconscious and irrational nature, alongside an Accent Softening Course for Business, whereby foreign workers learn the 'Standard English' accent so as to help further their careers in the UK. Interspersed throughout are a series of scenes, including children learning phonics and reciting an absurd poem inspired by Jorge Luis Borges, that further question our relationship to language, meaning and pedagogy. 
Situating itself amidst the current divisive politics and rhetoric in Britain, the architecture of the stage is used to produce a quasi-fictional microcosm of contemporary Britain in turbulent times. Through these different scenarios that predominantly train the voice, possible formations and pressures of the British subject are explored. Inhabiting the point in which a series of personal desires and pressures become indiscernible from a wider set of socio-political expectations, the project probes the affects of hyper-individualism, emotional labor and peripheral pedagogies on language, gesture, collectivity, and desire. Throughout the two classes a whole set of historical and contemporary power structures emerge, including Great Britain’s colonial effects on the voice, modern feelings of rejection from British society and the dramaturgical nature of Post-Fordist work. Furthermore, with these improvised and orchestrated fragments structured into 19 nonlinear acts, the video locates itself between the formats of a documentary, a play and a piece of cinema.
Time: 15.10 – 15.30
Venue: Wimbledon Space
Event: Joe Graham, Metronome Drawings (15m)
Graham presents a live metronome drawing, using graph paper and a mechanical metronome in an attempt to record the same amount of time differently. Each of the individual drawings will use a different combination of tempos to represent the exact same amount of time. Inspired by a Bergsonian understanding of time as it is experienced, i.e. as duration, this goes against the static understanding of time as something repeatable. According to Bergson’s philosophy of la durée we never experience the same moment twice. Drawing for as a long as the metronome allows, Graham’s performance is an effort to describe 'the shape of time’.

Event: Lucy O’Donnell
O’Donnell brings together drawing’s open interpretive inscriptions and writing’s more stable syntax, as sheets of writing that contain words evoking her colleagues’ activities. In the space, these hybrids explore the A4 page, its activities, spaces and silences interrogating interpretations and language as allusive and indirect. She drafts/re-drafts and creates multiple iterations of subject. O’Donnell plays with the tick-tock of the assumed silence of drawing and the spoken word, and will translate the paper works and performative dialogues of her colleagues into poetic soundings played on speakers within the space. These soundings consider the constructed dialogues between the gallery space and her collaborators’ contributions.

Time: 15.35 – 16.35
Venue: Theatre
Event: Lois Rowe & The Haptic Collective (60m)
The Haptic Collective brings together conversations and projects between Lois Rowe, Alix Burgess, Panama Fernandez, Isabella Squizzatto, Nikita Russi, Kristina Thiele as well as Dr Christa Sommerer and Tamiko Thiel of MA Interface Cultures, Linz University, Austria. 

Over 2 days, we will explore emergent virtual feedback loop technologies with our wider student community across college and with students from the MA Interface Cultures studios at the University of Linz, Austria. The project explores the haptic as a set of open material relationships between time, space, and object. It seeks to provoke new critical understandings of how physical sensations ascribed to notions of the haptic – feeling, strumming, tweaking, twanging – can be considered as new performative models for communication and knowing. It will feature several worlds that viewers can occupy and interact with through engagement with materialities within the programmes Unity, VR Chat and Masterpiece VR. At key points on 1 and 2 March students from the MA Interface Cultures studios at the University of Linz, Austria will interact with us in the virtual worlds we are exploring.
The Haptic Collective brings together performance makers across Wimbledon College of Arts (staff/technicians and students) and Linz University, Austria (staff and students) to play and interact with emergent tactile economies. The project will foreground this structure as an open-ended conversation, rather than the impulse to create a newly invented “world” or composition. The installation will be open to participants in order to activate it.
On 2 March at 15.35 in the Theatre there will be a participatory live-feed seminar including Lois Rowe, Jonathan Kearney and Tamiko Thiel in Linz to discuss the outcomes and broader implications of The Haptic Collective project. 

Time: 16.35 – 17.05
Venue: Canteen

Time: 17.10 -17.40
Venue: Wimbeldon Space
Event: Robert LuzarDemonstration 7: how to bag one's air (30m)
Demonstrations are works that partially show or demonstrate actions which ‘may’ or ‘may not’ be done by anyone, artist and/or audience. These are works that first appear on the internet as ‘how to’ videos, showing audiences step-by-step actions, using subtitles to outline such actions as possibilities; but they are also works that appear in performances, where audiences are shown how such demonstrations take place, and in ways different to however they seem to first appear. ‘May’ or ‘may not’ are words that repeat throughout the subtitles, and are also spoken out loud throughout the performances.

Event: Lucy O’Donnell
Please see previous info.

Time: 17.50 – 18.10
Venue: Film & Video Room
Event: Ken Wilder, Circumstantes (19m)
Screening of Circumstantes, a documentation of a one-off performance within Sigurd Lewerentz's Church of Sankt Petri, Klippan, Sweden. The 19 minute film documents a light and sound performance within Sigurd Lewerentz's photo-Brutalist church, best known for its idiosyncratic rule that no brick be cut. Circumstantes, taken from the Latin word for encircling, was the term Sigurd Lewerentz adopted for the situation where the celebrants surround the performance of the sacraments. This Lutheran reinterpretation of the mass refers back to the very earliest Christian practices. In Wilder’s work, a collaboration with the artist Aaron McPeake, the term circumstantes is interpreted through three encircling vertical slots of light, which continually sweep the space. The alternating directions of these scanning arcs are determined by Lewerentz’s pattern of slots on the south wall of the church; these slots, used to modulate the sound of the space, are translated into a score, determining the ringing of four ‘singing’ bowls uses as directional cues, cast in bell bronze by McPeake. Filmed on the autumnal equinox, three slots of light illuminate, respectively, the floor, walls and ceiling; at times these slots align, in unpredictable patterns determined by the speed of the scans which is left for the operators to improvise. The scans constitute a kind of drawing of the space through light, as they cumulatively reveal the materiality and complex geometry of Lewerentz’s extraordinary vaulted space. A one-off live performance was given within the space; by contrast, filmed over the course of 12 hours - from midnight to midday - the film registers daylight first entering into the space which is lit by just three small windows and two skylights. The film starts with the sound of the constantly dripping baptismal font, where the swelling ground metaphorically opens up to reveal a water filled slot, and ends with the church's own bells.
Time: 18.20 – 18.30
Venue: Wimbledon Space
Event: Greig Burgoyne, Islands (10m)
In Islands, Burgoyne joins with fellow performer Robert Luzar. Both appear to be cleaning the floor with 'floor cloths', attempting to stay on the cloth as long as possible. In the process of cleaning, the cloth will tear and fragment, leading to ever less space to stand on. The residual scraps of cloths will be at once indicative of the temporal membrane as spaces they walked on and the gestures they made, while forming an alternate set of spaces, in and alongside the site of the performance, akin to atols or waves.
The context here is the everyday passage through space, and the means to observe its limits and potentially contest that space. The role of labour, indicative of processed gestures that make space, is one to be contested by reiterating that space and the movements it imposes. As a result, the intensification of the performative process is a means to perhaps evade that world and its limits or impositions.

Event: Lucy O’Donnell
Please see previous info.

Time: 18.40 – 19.50
Venue: Theatre
Event: Melanie Menard, Tricyclic Transform (70m)
Melanie Menard presents Tricyclic Transform, a solo musical cabaret exploring genderqueer identity with songs and drag. Join Miss Liliane, 'biologically-challenged drag-queen', round the gender wheel as they try to negotiate restrictive gender-roles by performing symbolic rituals and re-enacting iconic songs, trying on identities as they try on clothes and pitches.
Tricyclic Transform goes beyond the ‘private confessional’ nature of many queer solo performance, using ‘Lynchian’ cabaret and German Expressionism aesthetics to explore the alienation of enforced gender roles on individuals from a full spectrum of psychological perspectives.
20 songs span several genres (Torch songs, jazz, musicals, gospel, European Cabaret/Chanson, 'storytelling' songs by Johnny Cash, Scott Walker), united by a dramatic delivery and focused on archetypes: sacrificial femininity, Lilith (Predatory Femininity), Androgyne, Dionysos (Broken Man). The theatrical presentation mixes popular alt-drag cabaret with live-art aesthetics including on-stage costume change, breast binding and destroying make-up. Judith Butler takes on RuPaul’s Drag Race!

Refreshments available during the cabaret.
20.30: CLOSE

Schedule for ACTS RE-ACTS 5: Performance Lab, Thursday 1 March, 2 - 9pm


Wimbledon College of Arts: Performance Laboratory

Performance Laboratory:
Thursday 1 March, 2 - 9pm
Friday 2 March, 2 - 9pm

Workshop & Symposium: Adaptation, Participation, Risk-taking
Saturday 3 March, 10am - 5pm (Booking essential)

19 February - 03 March 2017, Mon - Fri 10am - 5pm

Contributors include: 
Eleanor Bowen & Jane Bailey, Henry Bradley, Greig Burgoyne, Joe Graham, Angela Hodgson-Teall & Miles Coote, Richard Layzell & Bruce Barber, Jozefina Komporaly & ZU-UK & guests, Robert Luzar, Melanie Menard, Lucy O’Donnell, Ken Wilder & Aaron McPeake, Alex Reuben, Lois Rowe & The Haptic Collective, Aminder Virdee

Acts Re-Acts, a laboratory of performance, new media, workshops, lectures, discussions, events, interventions, seminars and installations, returns for a fifth year to take place across Wimbledon College of Arts. This year Acts Re-Acts will take the form of an intensive two-day laboratory of selected performances on Thursday 1 and Friday 2 March.

On Saturday 3 March, Jozefina Komporaly will convene 'Adaptation, Participation, Risk-taking', an interactive performance workshop by Anglo-Brazilian performance company ZU-UK, followed by a symposium featuring an invited panel of academics and practitioners. This event is part of the CCW Graduate School Public Programme. Booking is essential for this workshop. Click here for further information and to book a place.

An exhibition of work by participants will be on show in Wimbledon Space from 19 February – 3 March.

Image: Acts Re-Acts 4, set up of 'Obscura' by FIVE. Photograph by Rosie Potter.