I'll try and set stuff straight.

Serves 2 to ∞ People


Entering into week two I feel like we are beginning to have a little clarity. It is emerging that our Happening is likely to be hosted in a shop (pending confirmation of a shop space) as what can only be described as a ‘Happening Shop’, where experiences, performances, skills, pieces of artwork can be shared or donated, or exchanged for anything. So we might have a vast selection of mini performances or tasks displayed in a menu style repertoire that the audience (or ‘customer’) can select at will; a series of classes for people to take part in; a short choreographed routine performed by us hourly, amongst other things.

This feels incredibly liberating but also incredibly frightening. Presently my will and confidence in myself has dipped, so I need to find a way to reignite my inspiration.

The score I presented a day or two ago needs a little explanation. As a text score it was asked of us by Roberta to contrast a previous score we had each created that was entirely visual - this is not necessarily to say it had no text in it, but to be aware that the shape and image that the text creates does not have to be as linear as text might be printed in a book, and is as much of importance as images of stars, or cows, or colours, or whatever else is chosen to be included in the score. I shall endeavour to scan my visual score and post it soon. I found my text score is far more instructive than the visual score, however, the instructions are still open to a vast degree of interpretation and levels of engagement.
I noticed this when Noora and Liz performed my score, which was very well performed, but differed greatly to how I would have envisaged me performing it. It was fascinating to watch them reinterpret the mental journey I had taken while initially composing the score.

If you feel so inclined, present my score to two groups of people and witness how much the resulting presentations differ.

Score.

For 2 or more people.

Look at a distant point that can be reached on foot. Decide on one person to travel there.

Communicate a memory from the journey.

Become unvisible.

Count to 100.

Reduce a memory to 3 words.

Speak it and repeat it until it becomes something else.

Tell a friend.

Fatigued meaninderings and vague insecurities.

So we’re into the process now. My mind is fizzing with ideas but similarly with so many it’s like a blended soup, each idea (or vegetable) is indistinguishable from the next.

Our discussions revolve around anecdotal experiences of Happenings, and I feel a bit left behind having not knowingly experience any. Although, by the loose definition set down by Richard Schechner of Happenings being ‘interdisciplinary’, there was a period in the mid-1990s that the carnival in Totnes was run by what can only be described as Totnes’ alternative community, and as such the events of the carnival spanned a number of different disciplines, age groups, ethnic groups as well as social groups. As a youngster, I was exposed to this in a very interactive way, helping create music, puppets and costumes for the procession at the end of the week (or weekend, I cannot recall how long they lasted.)

My understanding of potential difficulties with audience interaction is presently minimal. There is research for me to do on this matter but I can’t help but feel that no amount of reading will give me a true understanding of the nature of audiences because I feel there is no ‘nature’, every locale is different and should be respected thus. However, I must remember that I pride myself on my interest in improvisation, and although I find there may be merit in assessing the possibilities of an audience reaction, I would like to be able to reassure myself that I would be able to cope in most situations.

I feel like the act in the picture may have proved an interesting example of how to consider the impact an action within a Happening could have on an audience/the public. Plus I like what they are wearing, I feel like it could be enough to provide some sort of framing to the fairly obscure act taking place.

Sorry this update is appearing some days after the experience itself.

Opening Workshop

Blog entry 1

Hi there blog, how’re you doing? I hope you don’t mind but I have a few things to share with you regarding our new project we’ve started.

Today we were given our performance brief. Although perhaps ‘brief’ is a bit of an overstatement as we were given two things that we have been asked to bear in mind:

It is likely to be structured similar to the ‘Happenings’ movement of the late 60s.
Start by watching the music ‘Hair’ and see where we get to.

I feel this is a good approach as it leaves the project open to almost anything. Although it does scare me shitless.

A final thing, which was inherent to almost all Happenings, is that it must be inclusive of our entire ensemble. This does not simply require that we all perform in the same space as such, more that it takes into account the wants, needs, talents and skills of each member and which can then effectively be considered a code of conduct when considering our ideas and how to implement them.

So, out initial task are to compile a set of three lists. First, in a broad sense, what each of us consider as our ‘skills’; second, what each of us would like to do in this project; and finally, what we would unequivocally not like to do in this project or, indeed, ever.

My lists are as follows:

1:
Cooking/Baking
Talking
Snowboarding
Football
Handstands
Laughing
Listening
Carrying stuff
Being friendly
Photograph.
Improvisation
Watching

2:
Any or all of the above
Dancing/Something physical (sweaty)
Singing in a group
Filming
Drinking

3:
Singing alone (unless no one can hear)
Put stuff up my bum
  “      “     “   other peoples’ bums.
Shave my head
Remove my clothes - although if it is really necessary I might consider it.


In discussion, some common themes emerge between myself and others in the group, most notably cooking and the bum stuff. Furthermore, there appears to be a consensus that we don’t want to do anything that intends to upset and/or divide anyone. Part of today’s session covers some finer details that the Happenings that occurred in the late 60s tended to be guided by, and one of the main elements sticking with me is the recognition of the indistinct line between life and art. Therefore, as a Happening tends to be an interactive performance, I feel a certain sensitivity needs to be maintained as to whom we will be performing, and any potential tensions that may arise from not only the content of the performance, but also the existence of the performance itself.

Here's an interview with Allan Kaprow, repudiator of 'The Happening':

http://www.mailartist.com/johnheldjr/InterviewWithAlanKaprow.html

More to come as I asses my musings. Also, as the project progresses, they are likely to become more focused and concise rather than meandering gibberish.