If you have been following the blog post in this series, this is where things start to get a little bit different. From this point on, although the chapters of “A Split Second of Paradise” are still very interesting and a highly informative read, they become less related to our current piece of site specific work. Thus I will be talking about one piece of the writing I felt I connected with as a creator of site specific art.
In this section I will be talking about the chapter “An Act in Several Parts The Work of Station House Opera” By Sarah Kent.
The aspect of the Station House Opera work that caught my attention was the interest of structures in their piece ‘The Bastille Dances’ (1989). Maynard Smith, a member of the organisation, said that
‘naming the structures was useful as a way of developing the narrative, but this is not a big story, there’s no coherent thread. Fragments are set up and abandoned or transformed…One situation metamorphoses into another.’
(Kent, 1998, 120)
This use of a fragmented structure applies to us as we are trying to show a fast range of research and time span that the room has experienced/ produced. We have also named our individual structures for our own purposes, however, what I found fascinating was there approach of abandoning or transforming the structure. During our research for our piece we have discovered stories with no really ending, or at least endings were documented. Including the story but abandoning it half way through or transforming it into another story may be a way to solve the problem of how to include these findings.
xxx
First blog post in the series
xxx
Work Cited.
Kent, Sarah. (1998) An Act in Several Parts. The Work of Station House Opera. In: Nicky Childs and Jeni Walwin (eds.) A Spilt Second of Paradise: Live Art, Installations and Performances. London: Rivers Oram Press, 117-135.
One Trackback
[…] Station House Opera […]