LAM: CELLS / performance


performance (45 min)

2018.04.10. 20.00
Három Holló / Drei Raben | színházterem / theather room
1052 Budapest Piarista köz 1.

Facebook event
Részvétel ingyenes /


LAM – Cells Trailer from Lori Elisabeth Baldwin on Vimeo.

A LAM három queer feminista művészből szerveződik. A Cells (Sejtek) című performanszuk egy olyan multimédiás, interakcióra épülő előadás, amely a ROM Fesztivál során lesz látható először. A Cells keretében az alkotók a testre egyfelől mint érzelmeinkkel kapcsolatós információt hordozó térképre tekintenek. Másrészt az előadás által megteremtett „safe place” egyben kolletív érzéseink, mint a düh, a harag vagy az örömök gyűjtő helyévé válik. Az előadásban keveredik a vj-zés gyakorlata, az élő zene, a mozgalmisság, az audiós és szöveges tartalom, amely egy szenzuálisan többsíkú, rétegzett darabot hoz létre, felhíva a figyelmünket a érzelmi tapasztalataink sokféleségére.

Cells is a multimedia interactive performance that investigates the body as an emotional map, and creates a safe space to collectively experience anger and pleasure. We combine vjing, live music, movement, sound, and text to create a multilayered sensorial piece that affirms the multiplicity of experiences of these emotions. We carry out techno-rituals, understanding the body as a home, the structure we can recognize as our own. We locate emotions in the geography of the body and ask: Is pleasure carried in my skin? Is anger stored in my elbow? What emotional memories do my bones carry? Through this research, we build a sensorial and shifting map that lives in, on, and through our bodies.

Cells is about the release of memories printed in every material cell of a Human being. This experience is lived both individually, but also as part of a collective. How do emotions spread? How do they reach the people around us? Emotions color our encounters. What happens when they mesh, clash or confuse?

Repressed anger due to trauma and frustration with self-expression or representation can be in a serious socio-political stalemate. This too often manifests in the form of extreme views and oppositional binaries. We feel that anger, in particular, is an emotion that needs a wider variety of safe spaces to be addressed collectively. Within Cells, the subject of anger, and its relationship to pleasure, is explored with the audience within a set performance structure. We approach the act of performance as a creation of a sacred space; the public constitutes a society that defines the moment. The piece exists inside a score that is pliable and grounded in the present moment of performance; we work through improvisation based on audience intervention, opening the possibility for timely encounters.

The movement score is rooted in a ritual of sensation, impulses, and kinesthetic response. Elements of BDSM’s controlled and consensual pain are incorporated. We are interested in the abstraction that movement can offer, in the process of the audience projecting their own ideas onto a moving body.

Video is used as an evocation of emotions and memories, from the internal point of view. The images are screened in synchronicity with the stimulation of precise parts of the body and movements, these body parts triggering a release of certain imagery. The sequences build in many ways through variations of length, scale, focus, shape, effects, and repetitions. The video projects a non-linear journey through and onto the performer’s body. The sequences are Vjed live, allowing spontaneous editings and expressions during the performance.

The sound is developed around the concept of a continuum, a slowly evolving landscape that can either remain or emerge out of a constructed sonic architectural tension. Using looping and prerecorded scripts or vocalisations in tandem give performance an increased scope in polyphony. Field recordings are used in a composition with live amplified cello performance, as well as sounds produced through corporeal movement.

The text that we use in the performance comes from samples of pre-recorded interviews with different people on the topics of anger and pleasure. We will generate new text for each performance, so each iteration is unique. We are also interested in interviewing people who are attending or working at the event to get answers that are also geographically tied to the place of performance. These last minute additions would join others that we collect in the next several months.

Examples of questions we ask include:
Through what sensations does your body experience anger?
In your experience, what connection exists between anger and pleasure?


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