followed by post show discussion with Karen Christopher

Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.

Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.

Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist. A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. Symposium Notes

Chelsea programme notes:In a world consumed by identity crises and at the same time dominated by advertising, how might a humble being begin to claim back space?Director Richard Maxwell: “ADS captures and refines questions I have been thinking about for a long time. What is presence? What does absence provide? What is it about performance that I like? What is it about people that I like? ” ADS offers participants an opportunity to publicly state their beliefs with one stipulation: Be sincere.”Boundary-pushing…suggests…you can create humane, affecting works of theater without the literal presence of human beings.” – Charles Isherwood, The New York TimesConceived and directed by Richard Maxwell for New York City Players

with post-show discussion.

Followed by post-show discussuion.

Chelsea programme notes:At Art College Chris Dobrowolski discovered that art could theoretically be anything. He made a boat from driftwood and tried to escape…he failed. This led to a series of vehicles from recycled materials all with a deliberate “knocked up in my garden shed” feel about them.In his continuing attempt to escape the art world he has been to the Antarctic with the British Antarctic Survey. His performance lecture will concentrate on his efforts to relate to this blank canvas and his attempt to justify his existence there, whilst everyone around him tries to save the planet.

Video documentation of installation work.

Performance documentation. Includes post-show talk.