On Fri, 30 May 1997, cris cheek wrote:
> I agree that there's a difficulty in even beginning to cross-over from a
> listening to a reading perception. The listening does indeed still have
> linear time
AND in performance there's silence. On the page of course there's blank
space but even in Albiach or Eigner this space is limited. Silence also
often fills with the other senses in a way that you'd have to be much more
contextualising or intentional to do with page blanks. Silence happens
because of the time-frame, which you asked about, not of course in the
trajectory-driven, spit-spattered ejaculo-improv, except as an opposite
lacuna. Silence when you know that resumption is at least possible is a
particular kind of silence, layers the constructed non-heard onto itself,
not a shut up, falling silent not postedenic. Slovene has verbs for these
different silences.
> experiences on hearing John Zorn in London for the first time with just
> bird calls and a bucket of water, several reeds and mouthpieces in his
> mouth like a flock of birds, but the articualtions precise and resonant
> with intent. Felt much like speech to this listener.
Tom Cora once mentioned how he liked Ikue Mori's "sentence" in her
percussion. This has always made sense to me.
> I haven't seen the Poetry Project Newsletter you mention. Where can i get one?
I'll send it. And will check out the Sulfur for your (et al) improv text.
When I work with students to devise a production, as recently at Warwick,
that's how we construct. Some get nervous without a cued script, but
I personally find layered strategic approaches, such as your Chisenhale
ones, simpler, more generative, and allowing more room for difference.
Strategies can also include ones that have to do with time.
Elements of Performance Art, written in 1976 by myself and Anthony Howell,
has some verbal exercises; I don't know where you'd get it other than by
breaking into his house, but it's probably being republished. And also
coming up books by each of us on approaches since then.
Fiona
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