Performance Lecture Series 2018
The centre’s Performance Lecture Series 2018 was curated by Dr Tim Long and held at the Sidney Cooper Gallery. There were three events, each comprising two performance lectures on the theme of ‘Frankenstein’s Monster Reborn’.
2018 marks the 200th anniversary of the publication of Mary Shelley’s novel, ‘Frankenstein; or the Modern Prometheus’. Since the publication of the book, the story of the scientist and his creature has been analysed, translated, and made into numerous films. Dr. Frankenstein created life from inanimate bodies. This process is related to the transformation of inanimate materials and instruments into art and live performance.
Here are videos of the events if you missed any of the performance lectures or want to see them again:
Dan Herbert, Dialogical Noise
This performative and occasionally informative lecture will see the creation of a virtual sound machine, its sole purpose to synthesise, record and manipulate sound. Through live coding and decoding, functions will be created, virtual wires connected, feedback loops established with sounds drawn from the spoken word and immediate environment to create an immersive soundscape. The virtual sound machine will be devoid of any significant intelligence although memory will form a common thread throughout.
James Frost, The life and death and life and death of Frank
In this performance lecture I will explain and demonstrate how a life-size puppet made for a one-off performance in 2006 was resurrected for the Canterbury Players production of The Legend of Sleepy Hollow in Oct 2017. I will contextualise this by referring to my published article on animation and puppetry ‘Jan Svankmajer: Film as Puppet Theatre’ (Animation Studies, Vol.11) and to my current PhD research on animal guising traditions in folk theatre. It is a talk about the animation of dead stuff as if it is living … but dead. Why is the puppet called Frank? I don’t even remember. You can ask him yourself but he won’t answer because a) he is not a ventriloquist’s dummy b) he is dead.
Nina Atkinson, Exploring Somatic Sensation: A neuroscientific approach to measuring audience reactions to immersive dance
As an audience member, do we ‘feel’ movement in performance? This project, a collaboration between researchers in dance and cognitive neuroscience, investigated kinaesthetic empathy  in audiences attending an immersive performance. Kinaesthetic empathy involves the internal ‘simulation’ of observed movement in the brain of the observer; this simulation of others’ actions contributes to action understanding and empathy . For example, when we see someone expressing an emotion, the emotion is embodied through our neural and physiological response . It is not known whether this response is dependent on sight, or can be experienced in a more direct ‘somatic’ manner.
We aimed to test the impact of an immersive performance on emotion, arousal and spontaneous motor responses, in general audiences and an audience with sensory impairments.
Robert Stillman, “The Organ Cherry: resurrecting dead recordings in live improvisation”
In his unpublished poem “The Organ Cherry”, composer Christopher Weisman describes a hypothetical red button on an organ for “stopping time”. Though the effects of the Organ Cherry are described as “sublime” in the poem, it closes with the forbidding image of the cherry “pumping death in the air”. The Organ Cherry serves as a thinly veiled metaphor for the way in which audio recording, in ossifying the ephemeral sound event as a permanent, unchanging entity, can be seen to render the sound ‘dead’, and the resulting music macabre in nature.
My solo performance practice makes use of multi-track tapes from past recording sessions–some dating back to as early as 2004–as the basis for live performance. The tapes, selected semi-randomly during the set, become the subject of a real-time improvisatory process. As such, the approach can be understood as a resurrection of ‘dead’ materials for application in a ‘live’ context.
Sonia Overall, Psycho Geography? On the trail of the monster
Frankenstein is full of walking, stalking and tracking: through Alpine landscapes, the backstreets of Ingoldstadt and the bourgeois neighbourhoods of Geneva. This performance lecture combines psychogeographical theory, walking as document and literary context to follow in the footsteps of Frankenstein. Look through the lens of Shelley’s novel to find the creature and his creator lurking around a corner near you…