Still Lives

Anderson, B; Pelmus, M; Pocheron, B; Schad, I

Still Lives

Anderson, B

Pelmus, M Pocheron, B Schad, I

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Publication Type:: Performance
Citation:: 2005
Issue Date:: 2005-01

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Field	Value	Language
dc.contributor.author	Anderson, B https://orcid.org/0000-0002-8387-340X	en_US
dc.contributor.author	Pelmus, M	en_US
dc.contributor.author	Pocheron, B	en_US
dc.contributor.author	Schad, I	en_US
dc.date	2005-03-01	en_US
dc.date.issued	2005-01	en_US
dc.identifier.citation	2005	en_US
dc.identifier.uri	http://hdl.handle.net/10453/17603
dc.description.abstract	Still Lives was the forth of a series of performance works created by Good Work Productions. Initiated by Isabelle Schad, Bruno Pocheron and Benedict Anderson in 2004, Good Work Productions is an international experimental performance project concerned with the presentation, representation and perception of the body on-stage as well as its status and exposure in society. Still Lives is a collaboration with a group non-professional performers to express notions of mass phoneme's and social organizations. The project focused on the relationships between perception and positioning of oneself in the world. Starting in the streets of the German city of Essen, people were recorded (audio) to voice their descriptions and commentaries on one image: "The Stumbling Block" by Jeff Wall. This image, addressing urban modern life in post-industrial societies is visually âunspectacularâ although embodies a strong dramatic potential that was reflected in peopleâs ability to reflect and formulate perceptions and opinions. Once collected the audio interviews were edited into a continuous soundtrack, which was then exported into the scenic space as projected subtitles without image. Scenographic and choreographic elements were developed in relation to the interviews that revealed complex formations in the group devised work. What is significant about this work is the ability of non-performers to develop movement vocabularies to spoken text rather than image or experience. The convergence and transposition of the oral text to the body resulted in an ever-changing landscape of people coming from different backgrounds, age and opportunity. Such transposition of the live on-stage work developed new and alternative identification, perception and communication with the audience that inevitably brought reflection to their own perception.	en_US
dc.title	Still Lives	en_US
dc.type	Performance
utslib.location	PACT Zollverein Essen	en_US
utslib.for	1203 Design Practice and Management	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access
pubs.place-of-publication	PACT Zollverein Essen	en_US
pubs.start-date	2005-03-01	en_US

Abstract:

Still Lives was the forth of a series of performance works created by Good Work Productions. Initiated by Isabelle Schad, Bruno Pocheron and Benedict Anderson in 2004, Good Work Productions is an international experimental performance project concerned with the presentation, representation and perception of the body on-stage as well as its status and exposure in society. Still Lives is a collaboration with a group non-professional performers to express notions of mass phoneme's and social organizations. The project focused on the relationships between perception and positioning of oneself in the world. Starting in the streets of the German city of Essen, people were recorded (audio) to voice their descriptions and commentaries on one image: "The Stumbling Block" by Jeff Wall. This image, addressing urban modern life in post-industrial societies is visually âunspectacularâ although embodies a strong dramatic potential that was reflected in peopleâs ability to reflect and formulate perceptions and opinions. Once collected the audio interviews were edited into a continuous soundtrack, which was then exported into the scenic space as projected subtitles without image. Scenographic and choreographic elements were developed in relation to the interviews that revealed complex formations in the group devised work. What is significant about this work is the ability of non-performers to develop movement vocabularies to spoken text rather than image or experience. The convergence and transposition of the oral text to the body resulted in an ever-changing landscape of people coming from different backgrounds, age and opportunity. Such transposition of the live on-stage work developed new and alternative identification, perception and communication with the audience that inevitably brought reflection to their own perception.

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http://hdl.handle.net/10453/17603