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Telepathic Improvisation (2017) by Pauline Boudry and Renate Lorenz (Boudry/Lorenz) (review)
Theatre Journal Pub Date : 2022-09-24
Farrah O'Shea

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Telepathic Improvisation (2017) by Pauline Boudry and Renate Lorenz (Boudry/Lorenz)
  • Farrah O’Shea
TELEPATHIC IMPROVISATION (2017). By Pauline Boudry and Renate Lorenz (Boudry/Lorenz). Witch Hunt, Hammer Museum and the Institute of Contemporary Art, Los Angeles. October 22, 2021.

Entering a small, unlit room with black walls and carpet, audience members hovered around the edges of a short black stage at the Hammer Museum to view the film installation, Telepathic Improvisation (2017) by artist duo Boudry/Lorenz, known for installations that reimagine normative approaches to historical narratives and spectatorship. With its own dimly lit stage, the world of the film mimics the dark walls and floors of the installation space, thinning the boundary between the audience and the film and setting the stage for an experiment in telepathy. To begin the film, which is looped, a performer (Marwa Arsanios) dressed in a vermilion jumpsuit walks to the center of the stage, which is bare and set to look like the backstage of a production. Arsanios—an artist, filmmaker, and researcher whose work concerns gender relations, collectivism, urbanism, and industrialization—is framed by a line of downstage lights, a guitar, and a white motorized unit. Looking into the camera, she addresses the installation’s audience: “You are attempting inter-group, or interstellar telepathic transmission, following the 1974 score, Telepathic Improvisation by Pauline Oliveros.” While she is speaking, performance artist MPA, whose work explores how the social and the political impact the body; Ginger Brooks Takahashi, who creates collaborative project-based feminist and queer works; and Werner Hirsch, a freelance artist, dancer, and drag performer (sometimes also known as Prince Greenhorn or Antonia Baehr) walk on set, dressed in shades of red and white, with Arsanios and MPA in jumpsuits. Audience members are instructed to close their eyes and telepathically send actions to the performers, which include the four human beings as well as the guitar, lights, and motorized units. When the performers receive the action, they enact it. To illustrate that actions are being sent to and received by nonhuman subjects, onscreen stage lights flicker [End Page 370] as though receiving messages, and two motorized platforms suggest independence, at one point pushing a performer onto the screen. As audience members recognize the action they sent onstage, they are to raise an arm, completing the exchange. With this choreography, present-day audience members interact with performers filmed five years ago, activating the installation through a reification of the film’s promise of telepathic exchange.


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Witch Hunt, installation view, Hammer Museum, Los Angeles, October 10, 2021–January 9, 2022: Marwa Arsanios, Werner Hirsch, MPA, and Ginger Brooks Takahashi in Telepathic Improvisation (2017). (Photo: Jeff McClane.)

On several occasions during the piece’s run at the Hammer, although not when I attended, MPA appeared in person wearing a red jumpsuit and matching face mask. This visual reference to the COVID-19 pandemic contemporized the film, further connecting it to the installation audience. Moving around, sitting, or lying on a short lighted stage, MPA interacted with the film and a new sound-scape written by Rashad Becker for the Hammer installation. In MPA’s absence, the stage was both a reminder of past performances and those yet to happen. Somehow incomplete, the stage served to connect to the visual, darkened aesthetic of the film while suggesting a reality that was partial and not yet realized. Thus telepathy was construed as an exercise that invites engagement with the past meant to inspire action in the future. The stasis of the present moment, indicated by the vacant, darkened stage, served as a call to action, a reminder of political work yet to be done.

In the 1974 performance score from which Telepathic Improvisation takes its name and cue, the late composer/performer Pauline Oliveros deconstructs the boundaries between audience and performer. Through the collective practice of group listening, what she calls “deep listening,” a practice meant to connect its participants to one another and the environment, Oliveros asks the audience to imagine sounds and manifest them as part of a group. Boudry/Lorenz take this practice a step further, engaging multiple dimensions by inviting an intergroup, interstellar...



中文翻译:

Pauline Boudry 和 Renate Lorenz (Boudry/Lorenz) 的心灵感应即兴创作 (2017) (评论)

代替摘要,这里是内容的简短摘录:

审核人:

  • Pauline Boudry 和 Renate Lorenz (Boudry/Lorenz) 的心灵感应即兴创作 (2017 )
  • 法拉奥谢
心灵感应即兴表演(2017)。作者:Pauline Boudry 和 Renate Lorenz (Boudry/Lorenz)。女巫狩猎,汉默博物馆和洛杉矶当代艺术学院。2021 年 10 月 22 日。

进入一个黑色墙壁和地毯的没有灯光的小房间,观众在哈默博物馆的一个黑色短舞台边缘盘旋,观看电影装置,心灵感应即兴(2017)由艺术家二人组 Boudry/Lorenz 设计,以重新构想历史叙事和观众的规范方法而闻名。凭借自己昏暗的舞台,电影的世界模仿了装置空间的黑暗墙壁和地板,拉近了观众与电影之间的界限,并为心灵感应实验搭建了舞台。影片开始循环播放,一位穿着朱红色连身衣的表演者 (Marwa Arsanios) 走到舞台中央,舞台光秃秃的,看起来像是制作的后台。Arsanios 是一位艺术家、电影制作人和研究人员,其工作涉及性别关系、集体主义、城市主义和工业化 - 由一排台灯、一把吉他和一个白色机动装置构成。看着镜头,她向装置的观众讲话:Pauline Oliveros 的心灵感应即兴创作。” 在她讲话时,表演艺术家 MPA,她的作品探讨了社会和政治如何影响身体;Ginger Brooks Takahashi,创作了基于合作项目的女权主义和酷儿作品;Werner Hirsch 是一名自由艺术家、舞者和变装演员(有时也被称为格林霍恩王子或 Antonia Baehr),身着红白相间的衣服,Arsanios 和 MPA 穿着连身衣。观众被要求闭上眼睛,通过心灵感应向表演者发送动作,表演者包括四个人以及吉他、灯光和机动装置。当表演者收到动作时,他们就会执行它。为了说明非人类对象正在发送和接收动作,屏幕上的舞台灯光闪烁[End Page 370]仿佛在接收信息,两个电动平台暗示着独立,同时将表演者推到屏幕上。当观众认识到他们在舞台上发出的动作时,他们将举起一只手臂,完成交流。通过这种编排,现在的观众与五年前拍摄的表演者互动,通过对电影对心灵感应交流的承诺的具体化激活装置。


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女巫狩猎,安装视图,洛杉矶汉默博物馆,2021 年 10 月 10 日至 2022 年 1 月 9 日:Marwa Arsanios、Werner Hirsch、MPA 和 Ginger Brooks Takahashi 在Telepathic Improvisation(2017 年)中。(照片:杰夫麦克莱恩。)

在 Hammer 的作品运行期间,MPA 曾多次穿着红色连身衣和相配的面罩出现,虽然不是在我参加的时候。这种对 COVID-19 大流行的视觉参考与电影同时代,进一步将其与装置观众联系起来。在灯光短暂的舞台上四处走动、坐着或躺着,MPA 与电影和 Rashad Becker 为 Hammer 装置创作的新声景互动。在 MPA 缺席的情况下,舞台既提醒了过去的表演,也提醒了那些尚未发生的表演。不知何故,这个舞台连接到了电影的视觉、黑暗美学,同时暗示了一个片面的、尚未实现的现实。因此,心灵感应被解释为一种邀请与过去接触的练习,旨在激发未来的行动。当下的静止,

在 1974 年的表演乐谱中,心灵感应即兴表演得名并以此为灵感,已故作曲家/表演者 Pauline Oliveros 解构了观众和表演者之间的界限。通过集体聆听的集体实践,她称之为“深度聆听”,一种旨在将参与者彼此和环境联系起来的实践,奥利弗罗斯要求观众想象声音并将它们作为群体的一部分表现出来。Boudry/Lorenz 将这种做法更进一步,通过邀请跨群体、星际...

更新日期:2022-09-24
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