Three Row Poles to
Enlightenment
Performance Artist
Kansas University, Lawrence, Kansas BFA Design
Kansas University, Lawrence, Kansas BFA Drawing & Painting
Rutgers University, New Brunswick, NJ MFA Art, Media Performance
e-mail: tombrady2@mac.com
Abstract
The
performance/opera begins with the premise that, throughout history, invention
has led to an accumulating base of mathematical, art and scientific knowledge.
Mathematics and science, through the reductive process, create repeatable
patterns and definable data within the complexity of chaos. It is art that
injects the magic into this knowledge triangle.
Art,
and the meditation of art, is the method by which we develop our understanding
of the “internal” and “external” forces. It is the source of the intuitive
knowledge that connects the previously unconnected into unexpected artistic,
mathematical and scientific patterns. In developing an understanding of the
relationship between complexity, chaos and the human experience – psyche, one
has the opportunity to develop greater intuitive knowledge about the purpose
and the base of our reality.
It
is the human component that challenges the definable and the indefinable. Reason
is the culprit and interpretation of the methodology by which inspiration is
brought forth from that mysterious core of the human spirit. As we approach the
issue before us, it is the mind’s ability to wonder, question, doubt, see
connections where there are none, build beliefs on flawed data and ultimately
discover, that allows us to grasp the next true connection.
The
importance of the psychological, emotional basis of human existence, in the
mathematical/scientific process is often overlooked. The meditative descent
into thought focuses the mind and propels us with excitement into the
consciousness of now. It is here that we experience exhilaration, fear, speed,
expectation, vertigo in our pursuit of knowledge. This emotionally charged
adventure shuts out the rest of the world and allows us to see those invisible
connections, resulting in inspired thought.
Introduction
Three
Row Poles to Enlightenment is a Koan, a riddle, a paradox used as an aid in
meditation and a means of gaining intuitive knowledge. The power of Koan
evolved from the intention to understand our struggle with the inner forces of
good and evil. A Koan gives rise to an attitude of understanding life by
understanding death. It is the pursuit of what is simple, efficient and immediately
applicable to dealing with reality.
In Three Row Poles to Enlightenment, objects, actions, words empowered by association and infused with mystic meaning emerge as dancing visions of the unknowable, the untouchable, the unreachable, the unheard, the unseen and the unspeakable. Here we step into a world beyond judgments, beyond hatred and jealously, beyond ourselves. Here we exist in power – pure energy - humming with the forces of life. Here we find the origins of all of our spiritual understanding. Here we see minute slivers of divinity . . . a matrix of all the pieces . . . . existing in perfect harmony . . . good and evil in perfect balance . . . . evidence of eternal life. There is a conscious juxtaposition of traditional symbols from both Christian and Buddhist thinking.
Performance
Three
Row Poles to Enlightenment is a performance exploring the triangular seeds of
knowledge mathematics, art and science. It explores the power of controlling
the external and the internal forces by presenting to the performers a series
of predetermined systems, physical, mathematical and psychological with which
to deal as they traverse the stage space, a metaphor for life’s path.
The
architecture of the performance, independent of a narrative armature, asks the
audience to search for and ultimately rely on their own inner spiritual
interpretation trusting their hunches, opening doors to their secret meanings.
Antonin
Artaud in his book the Theater and its Double, points out the importance,
particularly in western cultures, of dialogue and the subordination of the mise
en scene to mere background. He discusses how postures, gestures, attitudes,
objective intonations, mime and pantomime exist apart from text and are
generally considered the minor part of theatre. His idea of the possibilities
of theatre are best expressed in this excerpt:
The
idea of a play made directly in terms of the stage, encountering obstacles of both production and performance compels the
discovery of an active language, active
and anarchic, a language in which the customary limits of feelings and words are transcended.
Artaud
suggests that Balinese theatre, based upon age old traditions, preserves intact
the secrets of using gestures, intonations and harmonies in relation to the
senses on all possible levels. They may have preserved the magic of the
language of the arts, relegating dialogue to the background. [2]
The Physical Space is arranged with 18 poles, 8” diameter set 30 inches
apart in three rows of 6. The height of the poles varies up to five feet and
creates, when viewed at a distance, a wave-like pattern. Each pole is assigned
an identifying number, allowing each performer to negotiate the pole grid as
instructed.
Lights
are recessed in the false floor between the poles, set to shine up to the
ceiling. General lighting in the space need not create total darkness, but
should at least provide the ability to lower the overall light in the
performance space.
Audio/Sound Track The sound track embraces the complexity of the human
mind and recognizes its ability to conduct multiple conversations internally,
holding conflicting views and methods of processing data and experience. The
mind is capable of taking in information and creating through thought, ideas
within the mind, while simultaneously directing external action. The
performance investigates the correlation between thoughts, emotions and actions
and its ability to use systems, objective principals, structures and discipline
as the basis for action.
Audio
Tracks
Base Track #1: The musical track creates an audio base over which
the other tracks are laid. This
track sets a contemplative atmosphere from which the viewer may begin their
journey into self.
Command Tracks: The
command tracks are recorded to individual Offset Pods to begin approximately 5 minutes after the base
track. This track contains the verbal instructions to the performers’ to move from one pole position to another,
using the numerical cues.
The
timing between commands varies and is measured to create variable pacing of the
performers’ movement skipping across the
tops of the poles.
Dialogue Tracks #2-3: The dialogue expresses
fragmented thoughts about a subject that remains
largely hidden.
#3. The dialogue contained on this track is expressive of the personality
who tends to see things as they
are. They question and wonder. They are driven by objective principals.
#4. The personality expressed in this track is one of denial of the way
things are. Temperamental and romantic, this personality cultivates and
prolongs personal feelings. Intensifies. Alone.
These three tracks ignore narrative convention and sentence structure in favor of word placement, repetition, sound and multiplicity of meaning. As the piece progresses the three tracks begin to reflect greater harmony of spirit.
The Action (See diagrams) Two performers are seated at opposite
ends of the performance space, on pole one and fifteen, dressed in black
body-skin. As the performance begins, the musical track is joined by the
dialogue tracks. The performers are directed by the command track. They move in
circular patterns on the tops of the poles, towards the center than back,
across rows and forward again. These movements are repeated and contained, with
neither performer stepping past the middle poles to the opposite side. They
sometimes come within a pole of each other but do not cross over.
The
translation of the instructions into live action creates a challenge to the
performer to control the body’s movement, balance, position to accomplish the
movement as directed and understood.
The
consciousness of the performer must go within to direct the forces of movement
into the toe of the foot and take a stance on one leg in the new position.
As
the performance continues, the performers are instructed to perform a series of
mirrored movements – moving in tandem around the space.
As
the performance moves towards conclusion, the music and dialogue tracks fade to
silence.
The
female performer standing on pole 15 pulls a 12 inch square sheet of translucent
paper – masks with holes cut for the eyes from behind the pole. She proceeds to
place the mask in front of her face, looks around momentarily and passes it on
to the male performer standing on pole 11. He in turn places the paper in front
of his face, peers through the holes at the audience, steps to pole 7, peers
and throws the paper into the air where it is caught by the wind from the
industrial fan positioned off stage. The paper flies through the air and
disappears into the darkness. This process of passing the colors is repeated 5
or 6 times. Each paper is of a different color and when placed on the face
catches the light from the stage floor spots. The masks which are passed from
one performer to the other appear to be drops of pure light.
The
movements take on more dance-like gestures, skipping from one pole top to the
other, eventually taking a squatting position in the farthest and highest pole.
The performers remain there motionless and in silence.
Slowly
one performer begins to uncurl, laying on his back atop the poles in a slanted,
inverted cross position. An operatic aria sung by a female vocalist swells then
gradually fades. The female performer standing on pole 15 reaches down and
hands the reclined male performer the corner of a thin white translucent cloth
which he pulls across the surface of his reclining body. The wind from the fan
blows the mist light sheet across the performers’ body with the ends flapping
in the wind. The female performer stands looking out at the audience. The light
shines on her face seen through her thin dark mask and across the surface of
the reclining figure. The lights are dimmed slowly and the performance is
concluded.
By empowering the moment
we release the mind
past and future
and
for a meditative moment
live in the now.
References:
1.
Philip Galanter, BA, MFA Interactive telecommunications program, New York
University, New York, USA “What is Generative Art?” complexity theory as a
Context for Art Theory. Section 4 Complexity Science as a Context for Understanding
System, based on text written with Ellen K. Levy in preparation for the exhibit
co-curated “COMPLEXITY/Art and Complex Systems”. Opened at the Dorsky Museum at
SUNY New Paltz fall 2002.
2. Antonin Artaud “The Theater and its Double” Grove Press, in New York,
New York 10003.