Theatre Essay: Site Specific Performance

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Site Specific Performance: How has the nature of site-specific public presentation as a intercrossed art-form influenced attacks tosite-specific work in Britain over the last decennary?

Section 1: Introduction

Site-specific public presentation emerged out of the radicalartistic surroundings of the late 1960 ‘s and early 1970 ‘s that besides gave birth tosite-specific work by and large. It represents possibly the most ambitious andrevolutionary re-interpretation of theater and public presentation devised in thetwenty-first century. Site-specific public presentation has influenced site-specificwork in Britain in the past 10 old ages in many ways. This thesis examinesthree particularly strong influences: ( 1 ) site-specific public presentation and its useof audience ( 2 ) site-specific public presentation and its internal argument as to whethersite-specific art is site-exclusive or site generic, and ( 3 ) site-specific practitioners’theory of the choice of sites. Before these three principal probes arediscussed the thesis briefly reviews the history and origins ofsite-specific public presentation and its cardinal practicians.

The first major subdivision of this thesis investigatesand analyses the relationship between site-specific public presentation and itsaudience. The inquiries and arguments that have arisen from the fresh andintimate engagement between site-specific performing artists and their audienceshave had considerable influence upon site-specific work as a whole. Site-specificperformance understands the audience as a critical component of the entire productionand non simply as paying members of the populace who are isolated from thecreative procedure. Many public presentations depend closely upon the energy andmutual captivation of the topic that exists between performing artists and audience.Often the audience are portion of the public presentation itself. This familiarity points toa basic philosophical and professional rule of site-specific performancethat reacts against the sensed coldness, frigidness and eliteness oftraditional theater edifices and alternatively maintains that theatre andperformance ought to be a socially-levelling endeavor. The thesis thereforeasks the outstanding inquiries: Can audience self-identity be altered by aperformance? And: Can original and multiple witness individualities be created bysite-specific public presentations? The replies to these inquiries have beeninfluential throughout the whole of the site-specific universe.

The second-subsection of this subdivision explores therelationship between site-specific public presentation and the community from which itsaudience is drawn. The success of site-specific public presentation theoreticians andpractitioners in demoing the great extent to which the community in which aperformance is situated affects the atmosphere and attitude of the audienceechoes throughout the site-specific universe and informs it of critical lessons. Thisinvestigation of community and audience besides highlights how site-specific performancecan work to convey theater to the multitudes in an inclusive format that protestsagainst the elitist signifiers of the yesteryear. The concluding sub-section of this sectionreviews some of the jobs – variableness and restrictions of audience forinstance experienced by site-specific performing artists with regard to audienceand so suggests how these may learn valuable lessons to the remainder of thesite-specific universe.

The 2nd major subdivision of the thesis examines thekey argument in the literature of site-specific public presentation as to whether suchperformances should be site-specific or site-generic. That is, whether suchperformances should be free to tour and go or non? The replies anddiscoveries furnished for this inquiry by site-specific performing artists arerelevant and influential upon this same argument which penetrates the whole ofthe site-specific community. This argument reaches to the philosophical Centre ofsite-specific public presentation and threatens to convey about a cardinal changewithin the genre. At the bosom of the issue is the inquiry of whether aparticular public presentation, conditioned as it is by the peculiar environment inwhich it is created, can be moved either physically or spiritually to anothersite. Fierce statements have been made on both sides of the argument, with manypro-tour performing artists rebuting Richard Serra ‘s celebrated pronouncement that ‘to removethe work is to destruct it‘.The thesis considers as one solution the theoretical posit of a’pure ‘ theoretical account of site-specific public presentation from which assorted performancesdeviate in healthily diverse ways. The thesis so considers in depth theproposal of Wrights & A ; Sites whether that the solution to this quandary mightdepend upon a alteration in nomenclature and vocabulary of site-specificperformance. Such a displacement of nomenclature provides site-specific performancewith a greater nuance of definition and self-identity and hence overcomesthe evident deadlock suggested by the site-specific site-generic difference.

The concluding major sub-section of the thesis considersthe ‘use of infinite ‘ by recent site-specific performing artists and the influences ofthis usage upon site-specific work as a whole. The ‘space ‘ within which atheatrical public presentation may take topographic point was given its most extremist alteration andprogressive thrust in the twentieth- century by the practicians ofsite-specific public presentation. ‘Space ‘ , in footings of public presentation, had before theadvent of site-specific theaters been confined near entirely to traditionaltheatre edifices and to their conventional forms. The outstanding achievementof site-specific public presentation has been to immensely widen the scope and types of spaceand locale in which a theatrical public presentation can take topographic point. The dissertationconsiders the deductions for public presentation of such a extremist interruption with thepast, every bit good as looking at the impressions of ‘uninhabitable infinite ‘ and ‘culturalspace ‘ . The finds made about ‘space ‘ by site-specific performing artists arerelevant for the whole of site-specific work in Britain.

The thesis concludes with an rating and summing-upof all the old treatment and with an analysis of the future influence ofsite-specific public presentation upon site-specific work as a whole.

Section 2: SITE-SPECIFICPERFORMANCE History

It is of import to cognize something of the history ofsite-specific public presentation when seeking to find its influence uponsite-specific work in the past decennary in Britain. Such a glimpse at the historyilluminates the development of thoughts within the genre and shows how they came totake their present signifier in the 21st century.

Site-specific public presentation originated as an branch ofsite-specific graphics motion that began in the late 1960 ‘s and early 1970’s.Site-specific graphics was a signifier of art that was created to be in a certainspace and was conditioned in signifier by the environment and infinite of that place.At the Centre of the site-specific graphics motion was an effort to take artout of what was perceived to be the affected and pretentious ambiances of thegalleries and theatre edifices and to permute them upon a wider assortment ofoutdoor and indoor locales. One utile definition of site-specific performanceis that of the Dictionary of Video Art which states ‘Locations andenvironments may hold some sort of play or significance for ordinary people butthis has no significance for the middle class until interpreted by theheightened esthesias of the manager‘.In other words, the intent of site-specific public presentation and its ground forexistence is to do the public aware of the artistic virtues of ordinarybuildings and infinites that have ever been of involvement to ordinary work forces butpassed over by the elitist and institutionalized creative persons of the past. Site-specificperformance frequently ‘involves a ( more or less ) political determination to workagainst the dominant discourse of London, its theatre edifices, and itstheatre tradition‘.Site-specific public presentation is about a cardinal reorientation of infinite awayfrom its traditional apprehension in British theater.

Site-specific public presentation has emerged out of this generalartistic surroundings in the plants of creative persons and managers such as Peter Brook, Ariane Mnouchkine, Deborah Warner, Gof Brith, Janet Cardiff and in festivals orproduction companies such as Grid Iron, Wrights & A ; Sites and the EdinburghFestival. Other recent practicians include Mac Wellman, Meredith Monk andAnne Hamburger. From the first list two names in peculiar have been pivotalto the development of site-specific theater: Peter Brook and Deborah Warner. PeterBrook was one of Britain ‘s greatest theater managers and much of thisgreatness came from his extremist manner and usage of phase – both of which are seenas pre-cursors of modern site-specific public presentation. Brook was profoundly influencedby the Theatre of Cruelty by Antonin Artaud and this lead to dramaticproductions such as Jean Genet ‘sThe Screensin 1964 and Peter Weiss ‘sMarat/Sadein 1964 – a immense success after its crisp and radical interruption withtheatre manner to that clip. Brook brought a new doctrine to the theater thatimbued it with a new sense of possible and use of infinite andenvironment – shown good in his productions of Seneca ‘sOedipusandTheEmpty Space.More late, Deborah Warner has made farther developed theseearly beginnings of site-specific public presentation with radically different productionssuch asTitus Andronicus( 1987 ) ,Richard II( 1995 ) andJuliusCaesar( 2005 ) .

Section 3: SITE-SPECIFIC Performance: Audience

( A ) Audience: General

Possibly the singlegreatest part of site-specific public presentation as a intercrossed art-form tosite-specific work as a whole has been the extremist transmutation andre-constitution of the construct of audience and of how audiences experience liveperformance. When site-specific art foremost emerged in the late 1960 ‘s it appealedto audiences chiefly because of the freshness of the signifier and the freshness ofthe sing experience. However, site-specific art, whilst novel in itself, did non travel do any deeply fresh parts to the nature, individuality andconstitution of its audiences. Site-specific work had no yet developed asite-specific review or paradigm, and this was left in big step to thepioneers of site-specific public presentation. The great advantage and breakthroughachieved by modern site-specific public presentation is that it draws the audience ofinto an intimate engagement with that public presentation ; the audience become anessential portion of the public presentation itself. Noteworthy historical illustrations haveincluded Siren ‘s Crossing ‘sTrace and Flight( 2000 ) , Wrights & A ; SitesThe Quay Thing( 1998 ) , Anne Marie Culhane ‘sNightSky ( 1997 ) and TheWhalley Range All Stars ‘Day of the Dummy( 1999 ) .

Consequently, withsite-specific public presentation, both performing artists and witnesss reach a profounderdepth of empathy and understanding with the public presentation that they havewitnessed, than with traditional theater and even from site-specific work as awhole. In this sense, site-specific public presentation represents an development of thegeneral site-specific art-form towards a degree of greater spectator-involvementand identity.The doctrine and theory that underpins this development has much to make with areaction against the sensed coldness and unnaturalness of the traditionaltheatre ( where the audience are ever separated from the performing artists ) and itstendency to advance the values and purposes of elect members of society above theaspirations of the ordinary citizen. Site-specific public presentation nevertheless can besaid to be an ‘equalizing art-form ‘ : it holds as a basic philosophicalprinciple the belief that the members of the audience are of equal importanceand significance for the significance and successful executing of a particularperformance as the performing artists themselves. As such, site-specific theater andperformance have taught and go on to learn practicians of site-specificwork by and large – be it site-specific conceptual art, community art, installing art, public art etc. , that the greater the engagement andsense of engagement of the audience, the greater will be the efficaciousness of thatperformance upon both performer and spectator. Site-specific work hence hasmuch to larn from the techniques, literary readings, scene-designs andso on of site-specific performing artists.

This usage of audienceby site-specific performing artists has achieved for the first clip, harmonizing to FionaWilkie, ‘the sense of a corporate audience individuality, a cognizing audiencethat constructs itself suitably as an interpretive organic structure via a cumulativeframework of modern-day model experiences‘.Thus, site-specific public presentation asks of the audience members themselves certainbasic experiential and artistic inquiries. For case: how is an audience’ssense of ego forged? How and in what ways is an audience ‘s intent decided? The extent to which site-specific public presentation achieves this intensive audienceself-interrogation is possibly unrivalled in all twentieth-century public presentation art-formsand promises to be one of the few truly alone artistic finds ofrecent old ages.

Traditional theatremaintains a clear infinite between audience and performing artist no affair how elatedor ecstatic a witness may experience during a traditional public presentation he is alwaysnonetheless still a mere witness with no direct influence upon the directionor result of the public presentation. Site-specific public presentation radically reverses theaudience state of affairs and function and alternatively makes them cardinal histrions in theperformance itself. Site-specific public presentation besides raises the inquiries of: Canaudience self-identity be altered by a public presentation? And: Can original andmultiple witness individualities be created by site-specific public presentations? On the first inquiry it is noted by writers such as Williams and Kwon that theunique procedure of audience engagement in site-specific public presentation oftenleaves the audience with changed perceptual experiences of individuality once the performanceis completed. On the 2nd inquiry, it is besides clear from the growingliterature that now surrounds site-specific public presentation that the signifier has thepotential to make new audience individualities every bit good as to go forth differentgroups of the audience with different individuality perceptual experiences at the end.From these assorted observations of audience engagement in site-specificperformance it is apparent that site-specific work has benefited and learnt anenormous sum about the function of audience and its possible phases oftransformation. Furthermore, the far more diverse nature of members ofsite-specific public presentations alters the temper and ambiance and perceptual experiences ofthat audience. Rather than being an elect experience attended by merely one classof people with, loosely talking, a individual artistic attitude and outlook, the audience is alternatively a diverse melting-pot of different categories andprofessions of people.

( B ) Audience & A ; Community

Site-specificperformance has besides raised for general site-specific art the impression of theimportance of the community in which a peculiar public presentation or art exhibittakes topographic point. One peculiar site-specific public presentation company,The Olimpias, establish their work upon inquiries of site ownership and in line with the subject ofdisability. Harmonizing to Petra Kuppers, company manager, site-specificperformance ought to be ‘attentive to the local community and its ways of inhabitingits environment the company ( The Olimpias ) work with the community to takenew signifiers of site, re-interpret the site, maintain its history and presence alive‘ . ‘Community ‘ so is a important extension of the audience and the site factorsinvolved in a site-specific public presentation. It is the community about a specificwork that is most closely affected by a public presentation since that performancethrows new visible radiation on and reinterprets that community ‘s being in a particularway. Site-specific public presentation can assist to re-invigorate and take a breath life intoa community by doing it more cognizant and perceptive of the sites that itoccupies. So excessively the site-specific public presentations of Wrights & A ; Sitesis ‘interested in the topographic point and in the people who meet us in this topographic point ‘ . Thecompany Welfare State International have besides expressed a ‘committedness todrawing in local energies and go forthing behind a residue of accomplishments and confidenceafter the company ‘s backdown ‘.For many companies so site-specific theater is a public presentation that takes placein the life infinite of a peculiar community and is enacted aboard andwithin the working life of the community. Therefore there is an experientialauthenticity that is alone to site-specific theater.

( C ) Issues WithAudience

However, somewriters such as Jan Cohen-Cruzhave argued that taking theater from established edifices in specific placesto a specific-site does non needfully make a more intimate audienceenvironment or sense of individuality or multiple individualities. On this Cohen-Cruzstates: ‘Space is ever controlled by person and exists someplace, so itis necessarily marked by a peculiar category or race and non every bit accessibleto everyone. one must oppugn whether entree to a broader audience truly isa difference between public presentation site-specific and in theatre edifices.‘Cohen-Cruz ‘s citation is utile because it sounds a note of cautiousness tosite-specific performing artists who automatically assume that by simply creatingsite-specific public presentation of any kind they will instantly accomplish a deeper ormore profound sense of audience engagement and diverseness than would be foundin a traditional theater. Site-specific public presentation is a comparatively newart-form that is steping into new territory – particularly with regard to theunderstanding of audience engagement and individuality. It is hence to beexpected that a certain exuberance and robust enthusiasm amongst its performersmay sometimes lead to idealisations of the potency of the art-form ; that is, a inclination to presume that site-specific public presentation is a Panacea for all limitationsexperienced by traditional-theatre audiences in past centuries.

It is prudenttherefore to hold with authors such as Fiona Wilkie that the potentialaudience scope and diverseness of a site-specific public presentation is decided non byonly by the nature of the genre itself but by the peculiar characteristics of thesite itself. Access to such site-specific public presentations depends about entirelyupon the location and type of site chosen for a peculiar performance.If, for case, the site chosen for a peculiar public presentation is an abandonedwarehouse or mill floor near to several lodging estates or residentialareas so it is likely that that public presentation will be accessible to many peoplewho would be traditionally excluded from a theatre experience. If, nevertheless, asite-specific public presentation is held in a country-estate or at the top of acommercial tower-block so it is far less likely that the audience thatattends will be as diverse and kaleidoscopic as at the public presentation of in theabandoned mill or warehouse. For case, the site-specific performancecompany Kneehigh Theatrehave reflected how their public presentation ofHell ‘s Mouthin the ClayDistrict of Cornwall – a hapless and bedraggled country – encouraged a far broadersection of the community to go to than would hold done the traditionaltheatre. In Kneehigh ‘s words: ‘In Hell ‘s Mouth last summer, rockerss from thearea performed the English/Cornish brushs in the Mad Max manner Cornwall ofthe hereafter. This subject… and sensible ticket monetary values, encouraged a stronglocal per centum of audience, who would non usually see the company ‘s work ortheatre of any kind‘.So excessively the comprehensiveness of the audience of any site-specific work will be determinedalso by the subject and nature of the public presentation. A site-specific performancethat trades with an esoteric or abstruse topic will non vouch for itself abroad audience merely by virtuousness of the fact that it is a site-specific public presentation.

Several site-specificperformance companies have sought to keep the diverseness of their audiencesin the undermentioned ways.The Lion ‘s Partcompany, for case, seek to ‘escapethe bureaucratism of the theater edifice‘by supplying free entree to all public presentations and free financially besides. InFiona Wilkie ‘s facile phrase:

The impression of the public presentation moves off from thehigh-brow associations of the theater and closer to making a publicwell-versed in the popular civilization of gigs, festivals and jubilations. Itemphasizes the significance of the spacial brush and is conceived as awhole experience for the witness

Wilkie here identifiesa cardinal strength of site-specific public presentation: its ability and capacity tosynthesize countless different signifiers of modern-day art, civilization and society andto blend them into a relevant and meaningful whole. Furthermore, site-specificperformance has the alone advantage of being able to pull strings infinite inwhatever manner it likes. A traditional theater is badly limited in the sensethat its public presentation can merely take topographic point within the preset and setdimensions of the theater edifice ; these dimensions remain the same for everynew production no affair how different such productions might be from eachother. The infinite and dimensions of a site-specific public presentation are howeverdetermined and limited merely by the infinite and dimensions of the site itself andthey hence have a far greater scope and flexibleness than traditionaltheatre. For case: a windmill, an derelict mill, a java store, adoctor ‘s surgery, a former atomic silo all offer different and uniqueexperiences of infinite for the audience. So excessively, a site-specific public presentation mayeven have two separate audiences: one that pays admittance and is witting ofthe public presentation and another that attends the event for free and is an integralpart of the public presentation itself. To take an illustration: when Grid Iron held thesite-specific public presentationDecky Does a Broncoin legion kids ‘s resort areas some audience members bought tickets whilstthe kids ( go toing loose ) that played in the resort area were urged tocontinue their activities and so became portion of the scene and the performanceitself. Ben Harrison, manager ofDecky Does a Bronco, recalls howchildren came to and fro different parts of the public presentation depending upon thelevel of exhilaration raised for them by a peculiar minute or scene from thatperformance ; when bored the kids would retire to the quieter parts of thepark. In Harrison ‘s utile phrase, this dual audience ‘adds to thecomplexity of the event‘ .

Section 4: SITE-SPECIFICPERFORMANCE: ‘SITE-SPECIFIC ORSITE-GENERIC? ‘

Site-specificperformance has contributed significantly to the site-specific as a whole onthe pressing inquiry of whether site specific art should be site-specific or sitegeneric. That is, whether site-specific work should stay frozen in at theexact site of its creative activity or whether the thought created in a peculiar site possibly transferred to other similar sites. This inquiry is possibly the mostvociferously argued argument in site-specific work at present. At interest is thephilosophical and rational footing of the motion itself. Site-specific workemerged in the late 1960 ‘s as an art-form that made a alone usage of site andsite characteristics to act upon the form and signifier of the design: these sites wereusually extremely different or alone from all others and so each sculpture, art-work or public presentation had its ain alone features. Traditionalsite-specific creative persons of this old-school therefore refute the thought that theidiosyncratic characteristics of a peculiar site can merely be uprooted andtransferred to another site – no affair how similar to the original. In RichardSerra ‘s celebrated phrase ‘to take the work is to destruct the work ‘.In other words: one time a site-specific art-piece has been torn from its originalcontext it loses the one thing that made it powerful and alone. However, in recent decennaries such impressions of the immovableness from and inseparability of asite-specific work from its original scene have been assailed by artistsdriven by market forces and institutional alterations in attitude. In one criticswords: ‘Site specificity has become a complex cypher of unstablerelationships between locations an individualities in the epoch of late capitalist economy.‘Miwon Kwon ‘s workOne Topographic point After Another: Site-Specific Art and LocationIdentityis of tremendous importance in clarifying the contours and characteristics of thisshift in the way of site-specific art.

The internal movementsof site-specific public presentation have done much to inform and act upon the widersite-specific art of the last decennary. In site-specific public presentation the keyquestion of recent old ages has been: Can site-specific public presentation travel? Or: Does ‘Site-specificity ‘ average ‘site-exclusivity? Within the site-specificperformance community this argument as to exclusivity of site has been arguedwith near equal doggedness by both oppositions and protagonists. Therefore, in many ways, the argument appeared late to hold come to a deadlock. One manner found by site-specificperformers to step beyond this deadlock has been to specify degrees ofsite-specificity. For case the company Red Earthhas stated:

‘Someprojects are wholly site-specific, i.e. , they could non take topographic point anywhereelse without losing a strong yarn of significance and connexion ; while other moreflexible undertakings may work around a certain sense of topographic point, i.e. , the spirit orconcept at the bosom of the undertaking would work in several – but non all -locations ‘ .

This citation so suggests that the term ‘site-specific’has a grade of built-in relativity and flexibleness. At one terminal of thespectrum, the term stands for certain public presentations that are perfectly rootedin the exact and alone site and community characteristics in which they are set ; forsuch public presentations there is no possibility of traveling their thoughts to differentsites. At the other terminal of the spectrum, certain public presentations can be moved fromsite to site if they preserve or heighten the ‘spirit ‘ or primary thought thatbegan the original public presentation. Between these two poles are assorted types ofsite-specific public presentation whose transferability rests upon equivocal or dubiousprinciples. Justin McKeown of the Whalley Range All Stars suggests that thisrelativity should be defined in footings of site-specific public presentations that are ‘directlyderived from a chosen site‘and hence have to stay at that site indefinitely, and on the other handbetween public presentations that can be transferred since they acknowledge and expandupon ‘the built-in significances within a site‘ . Paul Pinson, of Boilerhouse, has argued farther that the relativity of site-specific public presentation isconditioned by the manner that the company engages with the infinite that it occupiesat a peculiar site. Pinson suggests farther that a public presentation can bepartially site-specific and partly of another genre and that this hybridity thereforejustifies a company to tour its public presentations. Pinson provinces: ‘You canrecreate a work in response to a figure of different sites, which is totallyvalid in itself and is an component of site-specificity but is different frommaking a piece of work in response to one specific site. ‘

The site-specific or site-generic argument and is plethora ofinterpretations have raised inquiries about the present ‘purity ‘ ofsite-specific public presentation. Above all: is it possible for theoreticians andpractitioners of site-specific public presentation to happen or deduce a ‘pure ‘ exemplary ofsite-specific public presentation, against which intercrossed signifiers of this theoretical account might becompared? That is: can one put up concept an ideal paradigm of site-specificperformance and so demo how fluctuations of this paradigm are good intheir person ways? Miwon Kwon has suggested that one definition of thispure theoretical account might be ‘To do a truly site-specific piece means it sitswholly in that site in both its content and signifier, otherwise if movable, itbecomes more about the site as a vehicle.‘Variations from this pure theoretical account are healthy natural growings from themother-model ; the work of site-specific theorists is to specify thesevariations and to impute to each of them independent countries of operation.

An option to this theoretical account of deducing fluctuations ofsite-specific art from a pure or perfect theoretical account is to contrive a new terminologyfor the art-form. Wrights & A ; Siteshave suggested that the footings ‘In theater edifice‘ , ‘Outside theater‘ , ‘Site-Sympathetic‘ , ‘Site-Generic‘ and ‘Site-Specific‘ beused to depict the assorted grades of theatre public presentation. The first two ofthese are clearly beyond the picket of any by and large accepted definition ofsite-specific public presentation. Interestingly nevertheless Wrights & A ; Sites propose athree-fold division of the genre of site-specific public presentation. The advantage ofsuch a hierarchy is that it allows greater freedom and nuance of descriptionwhen make up one’s minding to which demand genre a public presentation of site-specific work belongs.The term ‘site-specific ‘ is consequently reserved for public presentations that have aprofound and absolute relationship with the specific site in which theperformance is prepared and enacted. Such public presentations work merely at one site, ne’er tour or travel, and do non utilize preexistent props or scripts.Nonetheless, one major job of such a nomenclature is the trouble ofassigning the big figure of public presentations that seem to fall between thecategories of ‘site-generic ‘ and ‘site-specific ‘ .

These differences about definitions and nomenclature that havearisen in the peculiar field of site-specific public presentation are or considerablerelevance and have been of considerable influence upon similar differences insite-specific work by and large. The cardinal inquiry of the argument – cansite-specific public presentation circuit – is every bit relevant to all others types ofsite-specific work, be it sculpture, community art, picture and so on. Byadopting a similar nomenclature to that of site-specific performancesite-specific work by and large might unclutter up many of its ain internal differences.

Section 5: SITE-SPECIFIC: Type OF SITE

Internal arguments within the literature of site-specificperformance as towhat sort of siteto choose for its public presentations hashad considerable influence over similar determinations within site-specific workgenerally.

What so can site-specific work by and large learn fromsite-specific public presentation? Above all, possibly, is the extended andcomprehensive analysis and geographic expedition of the medium of infinite undertaken byleading site-specific performing artists. Richard Schechnerhas stated that ‘theatre topographic points are maps of the civilizations where they exist‘and Hetheringtonthat ‘Certain infinites act as sites for the public presentation of individuality ‘ .Artisticmanipulation of infinite is critical to successful site-specific public presentation, and theunique development in this pursuit has been the geographic expedition of options typesof infinite and site in which to execute site-specific theater. Theatre had forcenturies been mostly confined to theatre edifices of one kind or another ; the coming of site-specific theater saw the usage of a overplus of differentvenues for public presentation from coal mines, to hospital wards, to libraries, tocoffee stores and so onad infinitum. These ventures into alternativesites for public presentation raised amongst bookmans of site-specific public presentation thekey inquiries: What are the effects of such diverse choice of sites? What association will each site bring to the site-specific genre? What are thecommon subjects that bind such eclectic picks of locale? On the last inquiry, some efforts have been made by figures such as Hetheringtonto sort these locales in groups: for case, Parkss and kids ‘s playareas can be classed with beaches as ‘public infinites ‘ . Cohen-Cruzhas argued that such infinites allow site-specific performing artists to utilize infinite that isnormally thought of as ‘publicly inhabitable ‘ to lure passerby to attendthe public presentation hence symbolizing for the performing artists the subject of ‘makingperformance accessible ‘ . The infinites found in locales such as museums, churchesand galleries are used slightly otherwise nevertheless. In contrast to ‘publiclyuninhabitable ‘ infinites such as beaches and resort areas where the performing artist hasto entice the audience into the infinite, locales such as museums are perceived bythe general public as ‘culturally occupied ‘ infinites into which site-specific arthas to ‘intervene ‘ or ‘penetrate ‘ . By such incursion site-specificperformances reconstitute and radically change the conventional perceptual experiences ofthe infinites within these edifices and so rejuvenate them.

General site-specific work such as sculpture and paintinghas much to larn from such usage of and perceptual experience of infinite by site-specificperformers. Sculpture, for case, is traditionally found in galleries andexhibitions or expansive public edifices ; site-specific sculpture has made somemoves off from this limited usage of infinite, but site-specific public presentation showsthat sculpture would profit from a greater debut into publiclyuninhabited infinites such as beaches, Parkss and so on.

Section 6: CONCLUSION & A ; THEFUTURE OF SITE-SPECIFIC PERFORMANCE

In the concluding analysis, it must be said that site-specificperformance has been influential upon site-specific work as a whole in threecrucial respects. First, site-specific public presentation has, by its ain intimateencounters and probes, suggested how site-specific work as a wholemight understand better the function and individuality of its audiences. Particularlythe issue of audience individuality seems to offer highly fertile land forinvestigation and production in approaching old ages. The impression introduced bysite-specific public presentation that the audience are closely involved in thecreation and executing of the public presentation is still really fresh and has anenormous scope of future applications. So excessively, the work done by site-specificperformers to exemplify the tight connexion between the choice of a siteand the constituency of the community that provides the audience for that sitehas merely merely been discovered and so besides contains voluminous room for theoreticaland practical extension.

The legion efforts by site-specific performancepractitioners to decide the difference between site-specific and site-genericperformance has made many important finds that might come to the assistance ofother subjects of site-specific work. Pinson ‘s hierarchical nomenclature seemsto give a spectrum of definition whereby certain site-specific performancesmaintain their right to be entirely at one site whilst other performancesattain the freedom to reassign themselves in ‘spirit ‘ to other sites. Byadopting such terminology site-specific work as a whole will happen theflexibility to go on turning and spread outing into the hereafter. Furthermore, thereremains a immense potency for farther polishs of definition and philosophyalong the lines foremost set out by Pinson.

Similarly, there seem near limitless distances into whichsite-specific performing artists might widen British theater ‘s construct of ‘space ‘ andvenue. The diverse and eclectic sites chosen as locales by site-specificperformers over the past decennary have proved an inspirational beginning to amovement that seeks to demo the restrictions of the infinite in a traditionaltheatre edifice and the huge scope of options that are on offer. Acareful word picture and geographic expedition of the differentiation between ‘uninhabitable space’and ‘cultural infinite ‘ seems likely to be fruitful all-around for site-specificwork.

All in all, site-specific public presentation has had a significantand momentum-shifting influence upon site-specific work in Britain over thepast decennary. What is more, this influence looks set merely to increase as itgathers impulse and disciples in the coming old ages.

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