Ivy's Objects, discussion
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Wednesday, March 30, 2011
Tuesday, March 29, 2011
Ritual Shtuffs and Stick-like rambles
Kathakali ^:
"While being made up, the actors lie on their backs as the make up men work on their faces. The facial makeup is designed in such a way as to indicate the intrinsic nature of each and every character." "The underlying purpose is to create in the minds of the audience an atmosphere of the supernatural.
"Tribal or Cultural Face Painting has been used for many motives. For hunting, religious reasons, and military reasons (mainly as a method of camouflaging) or to scare ones enemy." Or artistic expression in Native American cultures. "The art of transforming ourselves with make-up and masks is a universal phenomenon. Before we sought to vent our artistic impulse on a cave wall, we painted on our faces and bodies. Indians of the Amazon have said that in this power to change ourselves, we demonstrate our humanity and set ourselves apart from the world of the animals."
"The Plains Indians used paints to adorn themselves, their clothing, their homes and their horses. Though their culture lacked a written languages, the pictures and symbols they drew were rich in meaning and told the stories of the people."
"Colors in Native American culture have special significance. Red is a violent color; it is the color of war. Strangely enough black, which is considered to be an inauspicious colors in most cultures, is the color of ‘living’, worn on the face during war preparations. White predictably is the color of peace. The color green when worn under the eyes is believed to empower the wearer with a night vision. Yellow is the most inauspicious color, it is the color of death, as it is the color of "old bones." Care should be taken not to wear a lot of yellow, and is worn only when a person is in mourning. Also yellow, means a man has lived his life and will fight to the finish."
For 19th century Seminoles:
"It would be a big mistake to put on face painting without having a genuine reason or need. Face paint was a way the Seminole drew upon the natural powers in his world to add to his own. A rough parallel might be the personal strength many Christians find in a crucifix hung from their neck."
And let's not forget henna, used in India since forever usually on hands and feet, but also on the neck. Sometimes connected with the fertility goddess and usually only done by women.
"Body painting, decoration and personal adornment traditionally carry deep spiritual significance for Australian Aboriginal people. Body painting is carried out within strict conventions that are primarily related to spiritual matters, although the creative nature of these activities is also acknowledged. The particular designs or motifs used by individuals reflect their social position and relationship to their family group and also to particular ancestors, totemic animals and tracts of land. People are not free to change their appearance at will; they must conform to respected patterns. In many situations individuals are completely transformed so that they 'become' the spirit ancestor they are portraying in dance."
Face painting replaced masks for facial freedom in Chinese Opera:
The Bororo of Niger use a dance ceremony, coupled with face paint, etc. Three young women are the judges, the are looking for their ideal man. The men dance their best and use every facial expression they poses. The winner and his judge then elope, basically, because it's a teegal (for love, not arranged) marriage.
Kolcho Village, Ethiopia:
Pondo Diviner:
"On the last day of the initiation (umgidi), a final confession by the novice is marked by a more elaborate performance: with a crowd gathered around her at her umzi (homestead), she appears naked to the waist, her torso painted with white clay and adorned with idwabe leaves, which she has collected the night before in the bush, using her visionary powers to find them. Her face is also painted with white clay. The designs painted on her torso make her resemble her ityala animal—in this case, a leopard—and she wears a wreath and anklets of the idwabe leaves, which her ityala animal likes to eat. The pattern on her torso and the painting on her face appear to link her to the ancestors who have both caused and cured her illness. In this attire, she dances and confesses to having seen her ityala, and thanks the ancestors for curing her"
Maori
Tattoo the shit out of their faces. The patterns are used as "signatures" by illiterate tribes. Westerners think all the patterns look the same but the tribes recognize the "seal" of a person.
"Moko was unique in that the face was decorated with intricate spirals which were not only tattooed but incised into the skin to make scars in the form of parallel ridges and grooves. With the exception of slaves and commoners, all men were tattooed on the face and most were also tattooed on other parts of the body. An elegantly tattooed face was a great source of pride to a warrior, for it made him fierce in battle and attractive to women."
OTHER:
Australian prisoners would forcibly place this tattoo on an inmate who was serving time, for being a sexual predator on minors (pedophile). When an inmate was know to be incarcerated for this crime, other inmates would corner the pedophile and place the tattoo on the right eye, so that is very visible as there were on the left side of their cell. This act was seen as prison justice and would be tollerate by most prisons. This act is now very rare,in Australia today.
In the United States, the meaning has changed quite differently over the years. This prison theme with the tear was carried over to American prisons. At first it was introduced to show that the person was incarcerated in prison for killing someone. This tear would symbolize remorse for that act, and usually get the tattoo after they had left prison.
During this time, outside of the prison world, some people got the tattoo for an entirely different reason. Although rare at the time, the tear tattoo represented the loss of a loved one, usually a wife or close family member. This ink was supposed to symbolise remembrance and closure.
Another important factor with the tear drop tattoo, is if its colored in or just an outline of a tear. If the tattoo is just an outline of a tattoo, then it represents that a friend was killed. If a tear drop tattoo is colored in, than that means that your friend has been killed and that the wearer had avenged the friend’s death.
Now it has becoming a fad in pop culture, a number of celebrities have tear tattoos, like Lil’ Wayne and Amy Winehouse."
I got really excited about this, so I ordered some face paints:
Snazaroo Face paints:
"While being made up, the actors lie on their backs as the make up men work on their faces. The facial makeup is designed in such a way as to indicate the intrinsic nature of each and every character." "The underlying purpose is to create in the minds of the audience an atmosphere of the supernatural.
"Tribal or Cultural Face Painting has been used for many motives. For hunting, religious reasons, and military reasons (mainly as a method of camouflaging) or to scare ones enemy." Or artistic expression in Native American cultures. "The art of transforming ourselves with make-up and masks is a universal phenomenon. Before we sought to vent our artistic impulse on a cave wall, we painted on our faces and bodies. Indians of the Amazon have said that in this power to change ourselves, we demonstrate our humanity and set ourselves apart from the world of the animals."
"Colors in Native American culture have special significance. Red is a violent color; it is the color of war. Strangely enough black, which is considered to be an inauspicious colors in most cultures, is the color of ‘living’, worn on the face during war preparations. White predictably is the color of peace. The color green when worn under the eyes is believed to empower the wearer with a night vision. Yellow is the most inauspicious color, it is the color of death, as it is the color of "old bones." Care should be taken not to wear a lot of yellow, and is worn only when a person is in mourning. Also yellow, means a man has lived his life and will fight to the finish."
For 19th century Seminoles:
"It would be a big mistake to put on face painting without having a genuine reason or need. Face paint was a way the Seminole drew upon the natural powers in his world to add to his own. A rough parallel might be the personal strength many Christians find in a crucifix hung from their neck."
And let's not forget henna, used in India since forever usually on hands and feet, but also on the neck. Sometimes connected with the fertility goddess and usually only done by women.
"Body painting, decoration and personal adornment traditionally carry deep spiritual significance for Australian Aboriginal people. Body painting is carried out within strict conventions that are primarily related to spiritual matters, although the creative nature of these activities is also acknowledged. The particular designs or motifs used by individuals reflect their social position and relationship to their family group and also to particular ancestors, totemic animals and tracts of land. People are not free to change their appearance at will; they must conform to respected patterns. In many situations individuals are completely transformed so that they 'become' the spirit ancestor they are portraying in dance."
Face painting replaced masks for facial freedom in Chinese Opera:
The Bororo of Niger use a dance ceremony, coupled with face paint, etc. Three young women are the judges, the are looking for their ideal man. The men dance their best and use every facial expression they poses. The winner and his judge then elope, basically, because it's a teegal (for love, not arranged) marriage.
Kolcho Village, Ethiopia:
Pondo Diviner:
"On the last day of the initiation (umgidi), a final confession by the novice is marked by a more elaborate performance: with a crowd gathered around her at her umzi (homestead), she appears naked to the waist, her torso painted with white clay and adorned with idwabe leaves, which she has collected the night before in the bush, using her visionary powers to find them. Her face is also painted with white clay. The designs painted on her torso make her resemble her ityala animal—in this case, a leopard—and she wears a wreath and anklets of the idwabe leaves, which her ityala animal likes to eat. The pattern on her torso and the painting on her face appear to link her to the ancestors who have both caused and cured her illness. In this attire, she dances and confesses to having seen her ityala, and thanks the ancestors for curing her"
Maori
Tattoo the shit out of their faces. The patterns are used as "signatures" by illiterate tribes. Westerners think all the patterns look the same but the tribes recognize the "seal" of a person.
"Moko was unique in that the face was decorated with intricate spirals which were not only tattooed but incised into the skin to make scars in the form of parallel ridges and grooves. With the exception of slaves and commoners, all men were tattooed on the face and most were also tattooed on other parts of the body. An elegantly tattooed face was a great source of pride to a warrior, for it made him fierce in battle and attractive to women."
OTHER:
Tear Tattoos?
There has been much debate and confusion over “What Do Tattoo Tears” mean. Well there are a number of ideas of what this tear tattoo means. According to urbandictionary.com the original tear tattoo was first found in Australian prisons. Kind of fitting since Australia was founded as an English penal colony.Australian prisoners would forcibly place this tattoo on an inmate who was serving time, for being a sexual predator on minors (pedophile). When an inmate was know to be incarcerated for this crime, other inmates would corner the pedophile and place the tattoo on the right eye, so that is very visible as there were on the left side of their cell. This act was seen as prison justice and would be tollerate by most prisons. This act is now very rare,in Australia today.
In the United States, the meaning has changed quite differently over the years. This prison theme with the tear was carried over to American prisons. At first it was introduced to show that the person was incarcerated in prison for killing someone. This tear would symbolize remorse for that act, and usually get the tattoo after they had left prison.
During this time, outside of the prison world, some people got the tattoo for an entirely different reason. Although rare at the time, the tear tattoo represented the loss of a loved one, usually a wife or close family member. This ink was supposed to symbolise remembrance and closure.
Another important factor with the tear drop tattoo, is if its colored in or just an outline of a tear. If the tattoo is just an outline of a tattoo, then it represents that a friend was killed. If a tear drop tattoo is colored in, than that means that your friend has been killed and that the wearer had avenged the friend’s death.
Now it has becoming a fad in pop culture, a number of celebrities have tear tattoos, like Lil’ Wayne and Amy Winehouse."
I got really excited about this, so I ordered some face paints:
Snazaroo Face paints:
This professional-quality make-up has a high pigment content to ensure vivid colors. Snazaroo Face Paints are water based for easy application, and for removal with soap and water. These paints dry fast, enabling you to paint multi-color designs quickly and easily.
Party Pack — A slightly larger kit for a party of kids to enjoy. The Party Pack includes 2 ml each of Black, White, Red, Bright Yellow, Grass Green, Sky blue, Sparkle Pink, Sparkle Orange, four glitter gels, three brushes, and four sponges. Paints 60 full faces.
Rainbow Kit — Snazaroo's Rainbow Kit is the best selling basic kit, ideal for beginners and for general use. It includes 2 ml each of White, Black, Bright Red, Sky Blue, Bright Yellow, Grass Green, Purple, and Bright Pink. Also includes a brush, sponge, and a 16 page, full color face painting guide. Paints 50 full faces.
Plenty.
Other thoughts of mine:
Fantasy:
(past) horses, animal, magic, silent communication
(present) success, free creative thought, RISK TAKING, embracing embarrassment, and free communication. The ultimate honesty being okay.
(future) ...
Ritual:
Face painting.
Singing/Humming/chanting. Maybe we go to our separate corners do our things and use the voice to bring us together into a stomping, dancing, singing circle of energy.
Rehearsal garb:
Take on elemental qualities (dunno if I want to use my native water to to invoke some others...)
Create awareness of body, improve flexibility.
Shoe/feet (water/dab)
YUP.
Rainbow Kit — Snazaroo's Rainbow Kit is the best selling basic kit, ideal for beginners and for general use. It includes 2 ml each of White, Black, Bright Red, Sky Blue, Bright Yellow, Grass Green, Purple, and Bright Pink. Also includes a brush, sponge, and a 16 page, full color face painting guide. Paints 50 full faces.
Plenty.
Other thoughts of mine:
Fantasy:
(past) horses, animal, magic, silent communication
(present) success, free creative thought, RISK TAKING, embracing embarrassment, and free communication. The ultimate honesty being okay.
(future) ...
Ritual:
Face painting.
Singing/Humming/chanting. Maybe we go to our separate corners do our things and use the voice to bring us together into a stomping, dancing, singing circle of energy.
Rehearsal garb:
Take on elemental qualities (dunno if I want to use my native water to to invoke some others...)
Create awareness of body, improve flexibility.
Shoe/feet (water/dab)
YUP.
Sunday, March 27, 2011
Ether Frolics
So, I came across this article called "Is There a Doctor in the House? Medicine and the
Making of Modern Drama" and I was informed by the opening paragraph. Here it is:
"In July 2005, the British theatre company Sound and Fury, in collaboration
with artists from a performance collective named Shunt, presented a theatre
piece entitled Ether Frolics. Performed in an underground vault beneath
London Bridge Station, the work explored the history and contemporary
practice of anaesthesia. Modern anaesthetics originated in the 1840s, when
the surgical use of nitrous oxide, ether, and chloroform was pioneered by
dentists and doctors in the United States and Europe. Ether Frolics – its title
refers to gatherings that were organized around recreational use of the
chemical in the 1830s and 1840s – explored the boundaries between consciousness and unconsciousness and the shifting somatic experiences that
these developments opened to awareness. The production’s spectator/participants were seated in a room that was closed off by hospital screens and
illuminated by bright lights. One of the performers delivered a monologue to
the audience, in which he compared their position as spectators to that of
medical patients. When the lights were suddenly extinguished, the resulting
darkness created a visceral experience of sensory disorientation. Sounds
arose in the darkness – far-off tinkling bells, grinding, groaning – and the
performance area was illuminated by brief, dream-like images and scenes.
Geometric shapes emerged from the darkness; a woman in evening clothes
responded to disembodied heads in boxes on the floor. The concluding
sequence reproduced the experience of awakening from anaesthesia.
Michael Billington of the Guardian described this sequence and its effect:
‘‘[T]he moment of recovering consciousness, with distant voices slowly
acquiring sharper definition as one re-enters the real world, will stay with
me for some time.’’
How crazy is that? Anyway, I think it would be cool to have people attempt to replicate this experience. I don't know what to say and I'm high. Here.
Also, the link to the gallery of Archetypes:
http://meta-religion.com/Psychiatry/Analytical_psychology/a_gallery_of_archetypes.htm
Making of Modern Drama" and I was informed by the opening paragraph. Here it is:
"In July 2005, the British theatre company Sound and Fury, in collaboration
with artists from a performance collective named Shunt, presented a theatre
piece entitled Ether Frolics. Performed in an underground vault beneath
London Bridge Station, the work explored the history and contemporary
practice of anaesthesia. Modern anaesthetics originated in the 1840s, when
the surgical use of nitrous oxide, ether, and chloroform was pioneered by
dentists and doctors in the United States and Europe. Ether Frolics – its title
refers to gatherings that were organized around recreational use of the
chemical in the 1830s and 1840s – explored the boundaries between consciousness and unconsciousness and the shifting somatic experiences that
these developments opened to awareness. The production’s spectator/participants were seated in a room that was closed off by hospital screens and
illuminated by bright lights. One of the performers delivered a monologue to
the audience, in which he compared their position as spectators to that of
medical patients. When the lights were suddenly extinguished, the resulting
darkness created a visceral experience of sensory disorientation. Sounds
arose in the darkness – far-off tinkling bells, grinding, groaning – and the
performance area was illuminated by brief, dream-like images and scenes.
Geometric shapes emerged from the darkness; a woman in evening clothes
responded to disembodied heads in boxes on the floor. The concluding
sequence reproduced the experience of awakening from anaesthesia.
Michael Billington of the Guardian described this sequence and its effect:
‘‘[T]he moment of recovering consciousness, with distant voices slowly
acquiring sharper definition as one re-enters the real world, will stay with
me for some time.’’
How crazy is that? Anyway, I think it would be cool to have people attempt to replicate this experience. I don't know what to say and I'm high. Here.
Also, the link to the gallery of Archetypes:
http://meta-religion.com/Psychiatry/Analytical_psychology/a_gallery_of_archetypes.htm
One-on-one Theater
Even though our room of illusion will be four-six on one, I still thought this article might be interesting
http://www.independent.co.uk/arts-entertainment/theatre-dance/features/for-your-eyes-only-the-latest-theatrical-craze-features-a-single-performer-with-a-single-audience-member-1995795.html
http://www.nytimes.com/2010/07/28/theater/28one.html?_r=1&pagewanted=2
http://www.independent.co.uk/arts-entertainment/theatre-dance/features/for-your-eyes-only-the-latest-theatrical-craze-features-a-single-performer-with-a-single-audience-member-1995795.html
http://www.nytimes.com/2010/07/28/theater/28one.html?_r=1&pagewanted=2
Saturday, March 26, 2011
Alix Rituals Research
- Lengthening in pairs (choice)
- Removal of outer layer of street clothes (rehearsal garb ready)
- Warm-ups/rituals in underwear
I don't know if we need to do the whole song, but I'd like to invoke Ganesh:
I have the mp3. I'd like to sing a portion of it. Perhaps I could sing it and also chant the chakras, touching them on each of us to open them. Visualize/physicalize strong elephants unhindered and full of power.
I'd also like to invoke Dionysus, as he's my other "patron" God. Could be something simple like,
"I pray to the loud-crying God to release my body, release my mind, release to the holy dance!" This might be where I'd like to wear and small set of antlers or something.
Maybe we could each put on our rehearsal garb at appropriate times for us through our opening rituals. Slowly accepting our roles and transforming into devised mentality.
- I'd like us to each re-enter the space to begin whatever ritual sequence we come up with, each from one door in Studio when possible, and move in a pattern of first straight lines around the outer edge of the rehearsal space. Or maybe lie in the center, lengthen, then return to our corners and begin whatever movement stuff we want to do.
- Personal chant:
"I am sacred, I am secret, I am open, I am incredibly large, I am safe, I am warm and filled with LIGHT." (mehhhh? somethin'.)
- It would probably be good to have an open dance section at some point. Building, for sure. Maybe beginning with walking/running in beat, clapping, whooping!
- Removal of outer layer of street clothes (rehearsal garb ready)
- Warm-ups/rituals in underwear
I don't know if we need to do the whole song, but I'd like to invoke Ganesh:
I have the mp3. I'd like to sing a portion of it. Perhaps I could sing it and also chant the chakras, touching them on each of us to open them. Visualize/physicalize strong elephants unhindered and full of power.
I'd also like to invoke Dionysus, as he's my other "patron" God. Could be something simple like,
"I pray to the loud-crying God to release my body, release my mind, release to the holy dance!" This might be where I'd like to wear and small set of antlers or something.
Maybe we could each put on our rehearsal garb at appropriate times for us through our opening rituals. Slowly accepting our roles and transforming into devised mentality.
- I'd like us to each re-enter the space to begin whatever ritual sequence we come up with, each from one door in Studio when possible, and move in a pattern of first straight lines around the outer edge of the rehearsal space. Or maybe lie in the center, lengthen, then return to our corners and begin whatever movement stuff we want to do.
- Personal chant:
"I am sacred, I am secret, I am open, I am incredibly large, I am safe, I am warm and filled with LIGHT." (mehhhh? somethin'.)
- It would probably be good to have an open dance section at some point. Building, for sure. Maybe beginning with walking/running in beat, clapping, whooping!
Friday, March 25, 2011
Friday, March 11, 2011
Carrot instrument
I WILL MAKE THIS. Onstage. In the background of something else happening?
I have a sax mouthpiece and a funnel, so we're good. Must try ASAP.
I have a sax mouthpiece and a funnel, so we're good. Must try ASAP.
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