Untitled - A Recreation


Untitled - A Recreation.


Performed by Matt Turbett, Beth Deans, Bianca Darkwoods, Céleste Combes and Kit Bower-Morris. Starting the week of the 6/11/17

This work was part of the research I did as part of my dissertation. I was focusing on scores, re-creation and repetition, within performance art and dance contexts.
This piece was be performed 5 times, in 5 days, by 5 different performers. I examined the differences between each performance, and whether or not despite these differences, they can all be considered re-creations of each other and of the score. As well as this I examined the effects of repeated action within each individual performance.  
I created a performance score, a re-creation of the action within Nicholas Tee’s [untitled] work performed at Performances of the Skeleton House a performance event curated by Alicia Radage on the 13th of May, 2016.
I chose to use Nicholas Tee’s [untitled] (2016) as a stimulus for my score for a few reasons. Firstly this is a performance that I had had the opportunity to watch myself, a performance that had stuck to me since seeing it, thus I felt more confident in making a score of this particular piece. Secondly, I wanted to not just explore the effects of repetition of performances but also the repetition within performances. This was a practical experiment to see whether, through the prolonged repetition of the scored movement, the performers would find their own authenticity within the movements. I then explored this potential authenticity of movement, comparing each performance, and examine my findings further within my dissertation.
Focusing on action within performance, I did not taken into account the background or contexts of the original performance. I have intentionally been blind to the gender, ethnicity, performance practice and intentions of Nicholas Tee. Choosing instead to enact violence upon the performance and appropriate the movement only, with the aim of exploring the limits of the original performance. Whether or not this can be considered a re-creation or even compared to the performance without most of the elements. I considered Nicholas Tee’s work to be a springboard for this experiment, I am interested in the movement and action only. I decided to re-create a performance rather than create my own set of movements as an attempt to examine the limits of action within performance art, in relation to the piece as a whole. Is it possible to re-create a performance, from an audience’s point of view, through movement alone?
Through my memory of the event, documentation images and a video extract I tried to describe the performance action as simply but accurately as possible. I created a score in three parts. A worded description, a visual representation of the worded description and a map of the space. The score was there to give structure to the performers, some elements can be ignored or interpreted differently, depending on the experiences and motivations of the performers. I went through the score with the performers, ensuring they understood it, as well as directed them on specific timings of the movements. Other than that, it was up to them to interpret the score in any way they saw fit. They had a short time to rehearse. Some of the performers had seen and had knowledge of the original performance and some had no access to any of the documentation or knowledge of the original. None were permitted to watch the other re-creations before they themselves performed. 

For more information about Nicholas Tee’s performance please visit his website: www.nicholastwy.com
For a video extract of his performance performed at Performances of the Skeleton House click here.