A few times in classes we have watched clips about site specific work but it's been from American Practitioners.
I have also already seen a site specific work, I went to watch 'absent' in Shoreditch town hall. It mentioned on a website that the duchess is 18 or could she be 80? This makes a big impact on the piece as well. There isn't actually any talking or acting apart from in the first part but it's involving no talking, you pretty much had to work out the story line yourself. I had to go round twice because the first time I rushed through and didn't really understand it to be honest but then the second time I got more of an idea of what it was about. I am glad I went round twice, because even though it wasn't my 'first' impression, I had a completely different outlook of it when I came out and completely understood the story where as I didn't before, and that can be the main difficulty with site specific, which is the fact that you mainly have to work out the story line yourself, it could be completely different to what someone else may think.
Even though there was NO talking at all in the scenes, the set up and some of the props made the whole story make sense. You started off in a newly modern hotel and are standing in a room where there are three screens and they have all the same girl on her, and then in front of us behind the window was a much older women acting and I got the impression that it is all the same girl. They all looked straight at you at the same time, then it would show her walking around drunk and when she was first in the room and then what she and the room looked like when she left, with bits of paper which was a letter telling the lady she needs to move out. Then you go through these modern rooms with screens of a little girl in with a swing that was shown in one of the other clips of her which meant this was a younger version of her. There was a massive grid of tiny model rooms of the new hotel as a whole and as you make your way through you see a room that looks like its being made up which has clues on the floor such as bottle of alcohol, pearl necklace, a article about the duchess having an affair with the manager of the hotel and so on, as you carry on you see undergrounds of nothing, just pure empty space and that is when the rooms haven't been made yet and are currently being re done. You make your way up and see a tiny model of a ballroom all trashed up and a screen showing the duchess when she was a younger lady, starting with the room all perfect and going up to all these women, then she comes in contact with a man at the end and it shows that the whole room is smashed up, the next room is then the smashed up ballroom. Right at the end there is a perfect room with all the objects saying 'sold' on it with a bottle of perfume that comes up in a lot of rooms through the site and that was the end.
So my take on the story is that were starting from the future and making our way back to the past as we started at the new modern rooms and ended up in trashed rooms and a room with everything sold. So the duchess was seeing the man who owns the hotel, and he gave her the best rooms for cheap rates and all that but to make it look like nothing was going on, he kicked her out and sold all the items and put her in another room away from the hotel so she was nowhere near anybody, then she had to be moved out of there because of the renovations, then she was told she needed to leave and the manager was seeing loads of other women behind her back and she finds out at the ballroom so she goes up to all the women and finds out at the end at trashes the ballroom. When you see that room that is half done, it is the transition from her old room to the completely new modern rooms that you see at the beginning of the whole play.
I really did like the piece. At first I didn't like it because I didn't understand it, it was free roaming so I didn't really know what to do because we could go whatever speed we wanted but because there was no acting, I was a little confused which is why I asked to go in again, and going in with Molly and Janay who also didn't understand it, was good because we all came out with the same outlook on the same piece.
http://shoreditchtownhall.com/theatre-performance/whats-on/event/absent
'A young woman enters a hotel. She is magnetic and compelling, yet strangely detached, as if in a dream; she knows everyone, yet is utterly alone; she has many lovers, but loves no one; she is 18 years old - or is she 80?'
ABSENT is partly inspired by The Duchess of Argyll's residence at a central London hotel from the 1970's until the 80's, when she was finally evicted, having run out of friends and credit
Even though there was NO talking at all in the scenes, the set up and some of the props made the whole story make sense. You started off in a newly modern hotel and are standing in a room where there are three screens and they have all the same girl on her, and then in front of us behind the window was a much older women acting and I got the impression that it is all the same girl. They all looked straight at you at the same time, then it would show her walking around drunk and when she was first in the room and then what she and the room looked like when she left, with bits of paper which was a letter telling the lady she needs to move out. Then you go through these modern rooms with screens of a little girl in with a swing that was shown in one of the other clips of her which meant this was a younger version of her. There was a massive grid of tiny model rooms of the new hotel as a whole and as you make your way through you see a room that looks like its being made up which has clues on the floor such as bottle of alcohol, pearl necklace, a article about the duchess having an affair with the manager of the hotel and so on, as you carry on you see undergrounds of nothing, just pure empty space and that is when the rooms haven't been made yet and are currently being re done. You make your way up and see a tiny model of a ballroom all trashed up and a screen showing the duchess when she was a younger lady, starting with the room all perfect and going up to all these women, then she comes in contact with a man at the end and it shows that the whole room is smashed up, the next room is then the smashed up ballroom. Right at the end there is a perfect room with all the objects saying 'sold' on it with a bottle of perfume that comes up in a lot of rooms through the site and that was the end.
So my take on the story is that were starting from the future and making our way back to the past as we started at the new modern rooms and ended up in trashed rooms and a room with everything sold. So the duchess was seeing the man who owns the hotel, and he gave her the best rooms for cheap rates and all that but to make it look like nothing was going on, he kicked her out and sold all the items and put her in another room away from the hotel so she was nowhere near anybody, then she had to be moved out of there because of the renovations, then she was told she needed to leave and the manager was seeing loads of other women behind her back and she finds out at the ballroom so she goes up to all the women and finds out at the end at trashes the ballroom. When you see that room that is half done, it is the transition from her old room to the completely new modern rooms that you see at the beginning of the whole play.
I really did like the piece. At first I didn't like it because I didn't understand it, it was free roaming so I didn't really know what to do because we could go whatever speed we wanted but because there was no acting, I was a little confused which is why I asked to go in again, and going in with Molly and Janay who also didn't understand it, was good because we all came out with the same outlook on the same piece.
'A young woman enters a hotel. She is magnetic and compelling, yet strangely detached, as if in a dream; she knows everyone, yet is utterly alone; she has many lovers, but loves no one; she is 18 years old - or is she 80?'
ABSENT is partly inspired by The Duchess of Argyll's residence at a central London hotel from the 1970's until the 80's, when she was finally evicted, having run out of friends and credit
I also saw one at the 'national student drama festival 2015' in Scarborough which was more of an element of children's theatre which was called 'The Nutcracker' this was really enjoyable and funny because there was acting all the time but you still had to work out the story and help fix the puzzle which I thought was really clever and by fixing the puzzle, it made the story make sense. The storyline was about a family having a Christmas party and the little brother 'Billy' was a little shy and was always left out. He didn't talk, but he spoke by writing on a board and connecting with the audience which meant different groups had a different one to one experience with Billy. He made it clear that his dad doesn't like Billy drawing and being himself and his family take the mick out of him all the time and always has nightmares, so a family member came round to give presents and gave Billy a nutcracker who the rest of his family took the mick out of and the mother went crazy at the family member because she said he wasn't welcome. So we all went into Billy's room and the family member sung him to sleep and got us all to close his eyes and gave us all hand warmers, then a UV light showed writing on the wall telling us the direction to go to Billy's brain to find out why he keeps having nightmares and we soon found out that his family were evil rats and there was a fairy, the evil rats locked Billy and the family member away and left us as two groups too fix the puzzle to find the pieces of the nutcrackers because it was torn up. We had to make a track for the cowboy to come across and help, give the penguin our hand warmers to warm her up and as we helped complete more tasks we pieced together the nutcrackers and the evil rats came and ripped up the nutcracker and threw it into the wardrobe, then we heard a knock and Billy came out and was dressed as the nutcracker. Once we came out of Billy's mind, there was note from the family saying sorry to Billy and fixed the nutcracker.
I actually loved this show, it was so fun and interesting it was one of the first site specific works I had seen so I was really happy and excited to have the opportunity to see it because I enjoyed it so much, definitely one of my favourites from the whole festival.
I actually loved this show, it was so fun and interesting it was one of the first site specific works I had seen so I was really happy and excited to have the opportunity to see it because I enjoyed it so much, definitely one of my favourites from the whole festival.
Punch Drunk :
'The Masque Of The Red Death' :
Battersea Old-Town, London, UK 2007 - 2008
&
'The Drowned Man'
Presented by punch drunk and the National Theatre.
'Have you ever seen nature inside out? When the sun stands at midday and it's as if the world was going up in flames?'
'Step into the world of Temple Pictures where the Hollywood Studio system meets a forgotten hinterland filled with dreamers who exist at the fringes of the movie industry. Here, celluloid fantasy clings to desperate realism and certainty dissolves into a hallucinatory world'.
'Inspired by Buchner's fractured masterpiece Woyzeck, this theatrical journey follows it's protagonists along the precipice between illusion and reality'.
This trailer of 'the drowned man' almost makes it look like a movie, the set is incredible. Personally I would go and watch it purely because of the trailer. It makes it look so amazing. I like how they have done the camera angles as well. I think the set is very clever especially the wood/forest area and how they have done a miniature version of the caravans as well as the original life size ones, which is kind of like what I saw in 'Absent' In Shoreditch town hall.
Trisha Brown:
First performed in 1970, performed at the walking art centre Minneapolis, Minnesota in 2008.
I personally think that this piece of work is really clever and interesting, even though there is no talking, I think it is still really powerful and looks very weird. It confusing how it works. But you can see that it would take a lot of strength to do it and it would be difficult to create the illusion if you do not move correctly. Although it is clever and a weird illusion, I do find it a little boring...I know it is not the type of thing you can stop half way but it did drag for a really long time.
Floor of the forest:
Floor of the forest:
To be completely honest, I didn't really understand this one. I'm just seeing two people climb round rope and hang in two tops facing each other. There is no talking again, I think the set is definitely very clever but it's very short, but I cannot imagine it being much longer. But it's just pointless to me, though it is clever.
Her works include:
- Homemade (1966)
- Man Walking Down the Side of a Building (1970)
- Floor of the Forest (1970)
- Leaning Duets (1970)
- Accumulation (1971)
- Walking on the Wall (1971)
- Roof Piece (1971)
- Primary Accumulation (1972)
- Group Primary Accumulation (1973)
- Structured Pieces II (1974)
- Spiral (1974)
- Locus (1975)
- Structured Pieces III (1975)
- Solo Olos (1976)
- Line Up (1976)
- Spanish Dance' (1976)
- Watermotor (1978)
- Accumulation with Talking plus Watermotor (1978)
- Glacial Decoy (1979)
- Opal Loop (1980)
- Son of Gone Fishin' (1981)
- Set and Reset (1983)
- Lateral Pass (1985)
- Newark (1987)
- Astral Convertible (1989)
- Foray Forêt (1990)
- For M.G.: The Movie (1991)
- One Story as in falling (1992)
- Another Story as in falling (1993)
- If you couldn't see me (1994)
- M.O. (1995)
- Twelve Ton Rose (1996)
- L'Orfeo (1998)
- Winterreise (2002)
- PRESENT TENSE (2003)
- O Zlozony/O Composite (2004)
- How long does the subject linger on the edge of the volume... (2005)
- I love my robots (2007)
- L'Amour au Theatre (2009)
- Pygmalion (2010)
There is also 'site specific dance'
This one is a girl dancing in an empty bus. It is clever because it is repetitive movement, and over exaggerated movement of what people actually do when they are on the bus. I did find it kind of awkward because I didn't completely understand what she was doing, but after a while it made more sense, even though it was short...it didn't need to be any longer in my opinion.
WHAT IS SITE SPECIFIC?
Site specific theatre is a performance which overtly uses the properties, qualities, and meanings found at/on a given site, be it a landscape, a city, a building or a room. This form of theatre emphasizes particular images, stories, and events that reveal the complex relationship between ourselves and our physical environment.
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Patricia Johanson, Dennis Oppenheim, and Athena Tacha, who had started executing public commissions for large urban sites (see Peter Frank, “Site Sculpture”, Art News, Oct. 1975). Site specific environmental art was first described as a movement by architectural critic Catherine Howett (“New Directions in Environmental Art,” Landscape Architecture, Jan. 1977) and art critic Lucy Lippard (“Art Outdoors, In and Out of the Public Domain,” Studio International, March–April 1977).
HISTORY:
Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world. Modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and co modification. Since 1960 the artists were trying to find a way out of this situation, and thus drew attention to the site and the context around this site . The work of art was created in the site and could only exist and in such circumstances - it can not be moved or changed. Site is a current location, which comprises a unique combination of physical elements: depth, length, weight, height, shape, walls, temperature. Works of art began to emerge from the walls of the museum and galleries (Daniel Buren, Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries (Michael Asher, untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke, Condensation Cube, 1963–65, Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing the museum as an institution that sets the rules for artists and viewers.
EXAMPLES:
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Patricia Johanson, Dennis Oppenheim, and Athena Tacha, who had started executing public commissions for large urban sites (see Peter Frank, “Site Sculpture”, Art News, Oct. 1975). Site specific environmental art was first described as a movement by architectural critic Catherine Howett (“New Directions in Environmental Art,” Landscape Architecture, Jan. 1977) and art critic Lucy Lippard (“Art Outdoors, In and Out of the Public Domain,” Studio International, March–April 1977).
HISTORY:
Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world. Modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and co modification. Since 1960 the artists were trying to find a way out of this situation, and thus drew attention to the site and the context around this site . The work of art was created in the site and could only exist and in such circumstances - it can not be moved or changed. Site is a current location, which comprises a unique combination of physical elements: depth, length, weight, height, shape, walls, temperature. Works of art began to emerge from the walls of the museum and galleries (Daniel Buren, Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries (Michael Asher, untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke, Condensation Cube, 1963–65, Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing the museum as an institution that sets the rules for artists and viewers.
EXAMPLES:
Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements (Site-specific art can be linked with Environmental art). Outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is sometimes used for any work that is (more or less) permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art.
Artists producing site-specific works include Michele Oka Doner, Sir Jacob Epstein, Henry Moore, David Smith, Isaac Witkin, Anthony Caro, Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Richard Haas, Alexander Calder, Isamu Noguchi, David Booker, Louise Nevelson, Leonard Baskin, George Segal, Tom Otterness, Roy Lichtenstein, Olafur Eliasson, PINK de Thierry, Sol LeWitt, Dennis Oppenheim, Max Neuhaus, Robert Smithson, Andy Goldsworthy, Christo and Jeanne-Claude, Dan Flavin, Archie Rand, Richard Serra, Olga Kisseleva, Michael Heizer, Patricia Johanson, James Turrell, Paul Kuniholm Pauper, Ana Mendieta, Athena Tacha, Alice Adams, Nancy Holt, Rowan Gillespie, Scott Burton, Robert Irwin, Marian Zazeela, Guillaume Bijl, Betty Beaumont, Albert Vrana, Sally Jacques, and younger artists like Eberhard Bosslet, Mark Divo, Leonard van Munster, Luna Nera,[2] Simparch, Sarah Sze, Stefano Cagol, NatHalie Braun Barends, and Seth Wulsin. In Geneva, Switzerland, the two Contemporary Art Funds of the City and the Canton (FMAC and FCAC) are looking forward to integrate art into the architecture and in the public space since 1980 . The Neons Parrallax was conceived specifically for the Plaine de Plainpalais whose perimeter, located at the heart of the City, the challenge of the artists invited was to transpose the advertising stakes of the commercial signs of the harbour in artistic messages.
Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town, South Africa. The site-specific nature of the works allows artists to interrogate the contemporary and historic reality of the Central Business District and create work that allows the city's users to engage and interact with public spaces in new and memorable ways.
Site-specific performance emerged out of the radical artistic milieu of the late 1960's and early 1970's that also gave birth to site-specific work generally. It represents perhaps the most ambitious and revolutionary re-interpretation of theatre and performance devised in the twenty-first century. Site-specific performance has influenced site-specific work in Britain in the past ten years in many ways.
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