Crispin Lord | Live Artist, Researcher & Director
 I received a Develop Your Creative Practice grant from Arts Council England to carry out a self-directed research and composition project that prioritises the public conversation around performance.

I use this page to share documentation of the research and development process as it occurs.


PERFORMING CRITICAL RESEARCH



ABOUT

The scope of the project is to prioritise the experience of political performance, and create a "feedback loop" where performers perform to recordings of audience and artist criticism. Each month I assign new case studies, spanning post-dramatic theatre, direct political action, live art and opera. I interview (digitally) the people involved as well as audience members, and record all the audio and visual information.

At the same time I am developing a digital instrument in tutorials with Doctoral Researcher Jonathan Packham and Edward Henderson (Bastard Assignments) which uses webcams to read performance gestures (ie dance and lip-movement). The interview recordings are fed into this instrument, and the gestural information then alters the quality of the sounds in real time (such as changing the pitch, shredding the sound, or layering voices on top of each other). The instrument will be tested with other performers in two closed workshops.


FEBRUARY


Case Studies

- Krzysztof Warlikowski
- Post-Dramatic performance history in Poland
- Queer rights and women’s activism in Poland today
- Grotowski Institut, Warsawa
- Max MSP basics
- MIDI control in Max MSP

Main sources

- “Posdramatic Theatre and the Political” ed. Karen Jürs-Munby, Jerome Carroll & Steve Giles
- “Postdramatic Theatre and Form” ed. Michael Shane Boyle, Matt Cornish & Brandon Woolf
- “Empty Stages, Crowded Flats: Performativity as Curatorial Strategy” ed. Florian Malzacher & Joanna Warsza
- “The Emancipated Spectator” by Jacques Ranciere
- WARLIKOWSKI shows: (A)pollonia (2008), We Are Leaving (2020), The Tempest (2003)
- T. KANTOR shows: Wielopole, Wielopole (1981), Dead Class (1976)





MARCH


Case Studies

- OKTOBAR 1975 & Studenski Kulturni Centar, Belgrad
- Forensic Architecture
- Masters applications
- Granular Synthesis
- Fast Fourier Transform

Main sources

- “Duty Free Art” by Hito Steyerl
- “On the Documentary” by Harun Farocki
- “Before and After Images” by Eyal Weizman
- “Sound Objects” ed. James A. Steintrager and Rey Chow
- “Empty Stages, Crowded Flats: Performativity as Curatorial Strategy” ed. Florian Malzacher & Joanna Warsza
- “on reading #foucault’s #lusagedesplaisirs feat. a very slow #bohemianrhapsodyremix [aka The Rules of Attraction, opéra concrète]” - by Alexander Fahima for Volksbühe Berlin