Whilst doing research for this essay I keep coming upon more and more amazing links which is really hindering my progress but it all just looks so good!
From time to time there's some excellent stuff turning up on Ubuweb. This "discussion" is an attempt to gather some of these.
- Feel free to chip in.
Showing posts with label Ubu Web Film. Show all posts
Showing posts with label Ubu Web Film. Show all posts
Sunday, 17 April 2011
Sunday, 20 March 2011
Samuel Beckett (1906 - 1989)
Not I
15' 06"
1973
Starring and Introduced by Billie Whitelaw
Not I takes place in a pitch black space illuminated only by a single beam of light. This light illuminates an actress's mouth. The mouth utters a monologue of fragmented, jumbled sentences which gradually coelesces into a narrative about a woman who has suffered an unpleasant experience. The title comes from the character's repeated insistence that the events she describes did not happen to her.
The stage directions also call for a character called 'the Auditor' who wears a black robe and can be dimly seen at the back of the stage, occasionally raising its hands in a gesture of impatience. When Beckett came to be involved in staging the play, he found that he was unable to place the Auditor in a stage position that pleased him, and consequently allowed the character to be omitted from those productions. However, he did not decide to cut the character from the published script, and whether or not the character is used in production seems to be at the discretion of individual producers. As he wrote to two American directors in 1986: "He is very difficult to stage (light--position) and may well be of more harm than good. For me the play needs him but I can do without him. I have never seen him function effectively."
A similar artist Steve McCaffrey has been experimenting in a very similar field since the 70's. To view my other post on him click here...
15' 06"
1973
Starring and Introduced by Billie Whitelaw
Not I takes place in a pitch black space illuminated only by a single beam of light. This light illuminates an actress's mouth. The mouth utters a monologue of fragmented, jumbled sentences which gradually coelesces into a narrative about a woman who has suffered an unpleasant experience. The title comes from the character's repeated insistence that the events she describes did not happen to her.
The stage directions also call for a character called 'the Auditor' who wears a black robe and can be dimly seen at the back of the stage, occasionally raising its hands in a gesture of impatience. When Beckett came to be involved in staging the play, he found that he was unable to place the Auditor in a stage position that pleased him, and consequently allowed the character to be omitted from those productions. However, he did not decide to cut the character from the published script, and whether or not the character is used in production seems to be at the discretion of individual producers. As he wrote to two American directors in 1986: "He is very difficult to stage (light--position) and may well be of more harm than good. For me the play needs him but I can do without him. I have never seen him function effectively."
A similar artist Steve McCaffrey has been experimenting in a very similar field since the 70's. To view my other post on him click here...
Saturday, 10 October 2009
Ben Lewis - Art Safari
Relational Art: Is it an ism?
(Broadcast on BBC4 on Thursday 8 July 2004 midnight-12.30am)
Award-winning writer and director Ben Lewis, a self-confessed “art geek”, takes an off-beat tour around the fringes of contemporary art.
While all eyes in Nineties Britain focussed on our own Young British Artists, a different global art movement was evolving. The leading French critic Nicolas Bourriaud, described it as 'Relational Art'. Armed with Bourriaud's book Relational Aesthetics, Ben goes in search of what he hopes might be a new 'ism'.
(From Ubu Web Film)
Michael Elmgreen & Ingar Dragset - 'Phone Home'
Providing a platform, on which the drama of social exchange will be improvised and performed by the audience, the installation explores an artwork's reach and potential for communication. First, by simple means the work extends beyond the physical limits of the gallery's architectural conditions, reaching through space and vast distance. The visitor will function as the mediator of the show in a direct way by describing it to the person on the other end of the phone line, thereby establishing a concrete link between the activity within the gallery and the outside. Moreover, the work allows for visitors to engage in an activity that places their own private behavior on public display ñ specifically turning everyday 'normal' behavior and gestures into performative acts. When entering the work, external perspective is shifted as the visitor becomes an actor.
(Read more...)
(Broadcast on BBC4 on Thursday 8 July 2004 midnight-12.30am)
Award-winning writer and director Ben Lewis, a self-confessed “art geek”, takes an off-beat tour around the fringes of contemporary art.
While all eyes in Nineties Britain focussed on our own Young British Artists, a different global art movement was evolving. The leading French critic Nicolas Bourriaud, described it as 'Relational Art'. Armed with Bourriaud's book Relational Aesthetics, Ben goes in search of what he hopes might be a new 'ism'.
(From Ubu Web Film)
Michael Elmgreen & Ingar Dragset - 'Phone Home'
Providing a platform, on which the drama of social exchange will be improvised and performed by the audience, the installation explores an artwork's reach and potential for communication. First, by simple means the work extends beyond the physical limits of the gallery's architectural conditions, reaching through space and vast distance. The visitor will function as the mediator of the show in a direct way by describing it to the person on the other end of the phone line, thereby establishing a concrete link between the activity within the gallery and the outside. Moreover, the work allows for visitors to engage in an activity that places their own private behavior on public display ñ specifically turning everyday 'normal' behavior and gestures into performative acts. When entering the work, external perspective is shifted as the visitor becomes an actor.
(Read more...)
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