Press Kit

O P O V O E M P É - C L I P PING
w w w.opovoempe.org
AQUIDENTRO AQUIFORA -
Destaques da Década da Revista Cult 2010
AQUIDENTRO AQUIFORA - FIT 2010
AQUIDENTRO AQUIFORA - FIT 2010
AQUIDENTRO AQUIFORA - Crítica 2009
AQUIDENTRO AQUIFORA - Crítica 2009
Peças acertam ao apostar no risco
Montagens complementares que acontecem
na rua e dentro de teatro ressaltam papel do
público como colaborador ativo
LUIZ FERNANDO RAMOS
CRÍTICO DA FOLHA
O espectador é imprescindível ao teatro. Os
espetáculos “AQUIDENTRO” e “AQUIFORA”, do grupo OPOVOEMPÉ, pretendem ampliar essa condição do público de
participante necessário à de colaborador ativo. Cada uma das duas encenações tem seus
procedimentos próprios, mas ambas aspiram mobilizar a percepção dos espectadores
sobre as dores de si e do mundo, sem para
isso servirem-se de uma narrativa fechada
para afetá-los e pressupondo que, idealmente, eles se tornem coautores das obras.
“AQUIFORA” transcorre nas ruas do centro de São Paulo. No início, as cinco atrizes
distribuem capas amarelas e aparelhos de
som a cada um dos espectadores. Com isso,
eles passam a ser legítimos atuadores, pois
andam em bloco, uniformizados, ouvindo a
mesma trilha sonora e concentrando-se nos
mesmos pontos, a mirarem juntos os cenários circundantes da cidade degradada.
O que eles ouvem são depoimentos de pessoas comuns, trechos de ficção literária
e um discurso mais jornalístico, cuja
descrição coincide com os lugares por onde
se vai passando. As atrizes alternam momentos em que simplesmente guiam os espectadores -indicando quando devem parar,
andar ou atentarem a algo- com outros em
que propriamente atuam, ampliando a cena
que se oferece aos passantes surpreendidos.
“AQUIDENTRO” ocorre em um teatro. De
algum modo, tudo que foi ouvido e visto
fragmentariamente na rua reaparece mais
organizado enquanto tema. Agora os aventais de enfermeiras e as caixas de remédio
apontam para o mal-estar da civilização.
Ainda há a recusa a uma narrativa convencional e toda a ação que vai sendo tecida
ocorre a partir da fricção entre as atrizes e os
espectadores, vinculados por um diálogo inacabado de perguntas e interjeições lacônicas que não chegam a ser respondidas.
É bela a maneira sutil como essa
dramaturgia se articula, à base de sorrisos e
esgares, na relação olho no olho entre atuantes e assistentes, aqui confundidos como
geradores da ação em curso.
Por outro lado, logo se explicita um discurso afirmativo, que no espetáculo da rua
era menos notável, e que vai distanciar os
assistentes da parceria que vinha sendo
costurada.
Afinal, há uma assimetria entre as atrizes
propositoras, que formulam o roteiro e direcionam sua leitura, e os receptores que,
chamados a uma tomada de consciência, regridem à condição de público alvo.
A intenção de mobilizar consciências é habitual no teatro. O que é novo e interessante
no trabalho do OPOVOEMPÉ é a forma
dramática aberta com que faz isso, sustentada no desempenho de risco das atrizes e na
imprevisibilidade do público. Já a postura
missionária, implícita nessa experiência do
grupo, é datada e ameaça os seus propósitos
libertários. Entre esses dois caminhos possíveis, fica a boa expectativa de novas explorações.
Publicado em 24 de setembro de 2009 no jornal
Folha de São Paulo.
AQUIDENTRO AQUIFORA - Temporada TUSP 2009
AQUIDENTRO AQUIFORA -
apresentação do processo no Festival
Preview+br - Munique, Alemanha 2009.
AQUIDENTRO AQUIFORA -
Prêmio Cooperativa Paulista de Teatro 2009
PRÊMIO - Rumos 2010-2012
dos em uma mostra do Itaú Cultural no
segundo semestre de 2011, na qual os selecionados apresentarão os processos de deTeatro
senvolvimento das pesquisas, seja por meio
Nesta primeira edição do Rumos Teatro, de discurso, seja por meio de debate, enforam inscritos 165 projetos e selecionados cenação ou montagem.
12. O edital foca o intercâmbio de práticas
e a articulação entre grupos de teatro de Além disso, manterão um blog por um
todas as regiões do Brasil. Nesse sentido, o período mínimo de seis meses para que o
programa permitiu a inscrição conjunta de público possa acompanhar os debates e as
dois grupos, para que possam desenvolver pesquisas realizados nas parcerias.
uma pesquisa juntos.
Conheça os selecionados de cada categoria.
Inicialmente, o edital previa selecionar
dez projetos; no entanto, diante da grande - Prêmio de 56 mil reais
variedade e da qualidade dos trabalhos
inscritos – com a participação de 330 gru- Grupo Caixa do Elefante (RS) e Grupo Pepos de todo o país – foram selecionados 12 quod (RJ): O ator animador e o processo
projetos, contemplando, assim, 24 grupos criativo no teatro de animação realizado
com propostas e pesquisas cênicas bastante pelos grupos
diversificadas: teatro de rua, circo, teatro
Núcleo Argonautas (SP) e Cia Senhas de
físico, entre outros.
Teatro (PR): Narrativas urbanas na terra
Cada grupo receberá de 56 mil a 88 mil sem lei
reais [dependendo dos gastos que terão
com as passagens aéreas] para desenvolver Grupo de Teatro Celeiro das Antas (DF) e
a pesquisa e cobrir despesas de viagem, de Grupo Teatro Experimental da Alta Flomodo que se garantam encontros presenci- resta (MT): Florestas e antas, experiências
teatrais – em busca de um teatro possível
ais entre os grupos.
Resultados Rumos Teatro 2010-2012
Os resultados dos encontros serão exibi-
Grupo Companhia Silenciosa (PR) e ERRO
Grupo (SC): Salsichão no Boquerão/tainha
na Prainha
Cia Teatro Autônomo (RJ) e Os imãos Guimarães (DF): ciateatroautônomo + irmãosguimarães
OPOVOEMPÉ (SP) e Grupo LUME (SP):
Composição de matrizes ou matrizes em
composição?
Espanca! (MG) e Companhia Brasileira de
Teatro (PR): um outro si mesmo – troca de
pacotes
Grupo Bagaceira de Teatro (CE) e Coletivo
Angu de Teatro (PE): Conexões coletivas:
angu e bagaceira
Cia dos Atores (RJ) e Os Fofos Encenam
(SP): (re)soluções para ontem: inventar o
passado
http://rumositaucultural.wordpress.
c o m / 2 0 1 0 / 1 0 / 2 7 / re s u l t a d o s - r u m o s teatro-2010-2012/
OUT OF KEYS - Festival Preview+br - Munique, Alemanha 2009
OUT OF KEYS - Urban Festival - Zagreb, Croácia 2008
OUT OF KEYS - Mostra SESC de Artes 2008
PAUSA PARA RESPIRAR - Circuito SESC de Artes 2010
9:50 QUALQUER SOFÁ - Circuito SESI de Artes 2010
9:50 QUALQUER SOFÁ - Feverestival 2008
9:50 QUALQUER SOFÁ - Feverestival 2008
Este Sofá é para contar - Mostra SESC de Artes 2008
Este Sofá é para contar - Crítica Fringe Curitiba 2008
O Magnetismo de uma Intervenção Gerou
um Festival de Curitiba
Gerson Paulo de Andrade
29.03.2008
Um verdadeiro Festival de Curitiba aconteceu neste sábado às 10 horas no Largo da
Ordem. Conforme programação do Festival
de Curitiba, a Cia. Opovoempé, deveria
apresentar nesta hora e local a intervenção
Guerrilha Magnética.
Como é aniversário da cidade, neste mesmo
horário e local foi programado um evento
que contou com a presença de membros da
Guarda Municipal, Corpo de Bombeiros,
além de banda, staff de aliados e funcionários ligados ao prefeito, que esteve presente
para o lançamento de um selo comemorativo. Iniciadas a cerimônia oficial ao som
da banda à silenciosa intervenção surge um
grupo de manifestantes ligados a CUT que
rompem a cena com estandartes, faixas, em
mais barulho.
O que poderia ser uma falta de comunicação, um erro na programação do Festival de
Curitiba e da Prefeitura resultou num espetáculo de ampla repercussão, como o caso
do guarda que de arma em punho censurou
Plínio Marcos na voz de um ator. Para a
performance houve um ganho extraordinário
no aumento da espetacularidade. Dando uma
amplitude à intervenção, pois na intenção de
intervir no cotidiano investigando a relação
do homem com o espaço urbano contou com
cenas surreais, além do jogo proposto pela
intervenção, numa espécie de uma grande
criação coletiva de uma cena construída num
tempo real.
As quatro integrantes do grupo carregando
um sofá branco causando espanto e estranhamento não se intimidaram, escreviam
uma dramaturgia ao vivo inspiradas em
casos engraçados e absurdos que alguns
espectadores narraram, quando convidados
a sentarem-se no sofá, num papo intimista
em plena sala de estar, num lugar público
da cidade. Mostrando as páginas escritas
em variadas distâncias e se aproximando do
palanque político a intervenção conquistou a
praça e o sofá virou uma tribuna democrática
e confortável em meio a protestos de um ou
outro funcionário do SAMU mais indignado,
proferindo slogans como: o teatro é bom
mas nós temos que ganhar mais para melhor
servir a população.
Finalizada a intervenção das atuantes, estas
saíram à francesa e o sofá e a escrita ficou a
cargo dos populares que extasiados davam
continuidade à intervenção, que possibilitou
a construção de uma dramaturgia feita por
homens e mulheres, moradores ou transeuntes da cidade, que enquanto espectadores
viram atuantes de uma cena contemporânea
escrita e vivenciada no exato momento em
que acontece.
Independentemente da inusitada colaboração de personagens importantes da cidade,
Guerrilha Magnética é uma idéia simples e
inteligente que favorece o contato humano,
desvenda incógnitos personagens urbanos
com arte.
Guerrilha Magnética
Intervenção – São Paulo – SP
Bebedouro - Largo da Ordem
Dias: 29 e 30 de março às 10h
Cia. Opovoempé – Direção: Coletiva
Elenco: Cristiane Zuan Esteves, Ana Luíza
Leão, Graziela Mantoanelli, Manuela Afonso, Paula Possani
Duração: 40´.
http://www.curitibainterativa.com.br/
modules.php?name=News&file=article&s
id=13887
O QUE SE VIU QUE VOCÊ VÊ? - Verbo 2007
PARA ONDE VOCÊ VAI? - Verbo 2006
O QUE VOCÊ NÃO DEIXA PARA TRÁS? - Mostra SESC de
Artes 2008, Caixa Cultural 2006.
ENSAIOS CRÍTICOS SOBRE O GRUPO OPOVOEMPÉ
-
Ar t i g o Th re e S ã o Paulo Theatre Companies, James Brennan, para a R evista R eal Ti m e, 2 0 1 0 .
- Liv ro, “A i nte rat i v idade, o controle da cena e o público como agente compositor ”, o rg a n i z a d o p o r
M arg a r i d a G a n d a ra R auen (M argie), EDUFBA, 2010.
- Ar t i g o Fro m Vi s t a to Patter n, B ypassing, Tomislav M edak , para o catálogo do URB A N Fe s t i va l, 2 0 0 8 .
- Ar t i g o Wh at t h e Fuck is That? The Poetics of Ruptural Per for mance, Tony Perucci, p a ra L i m i n a l i t i e s : A
j our n a l o f Pe r fo r m ance Studies, 2009.
Thre e S ã o Pa u l o Th eatre Companies - James Brennan, para a R evista R eal Time, 201 0 .
IN
three theatre companies in S ão Paulo,
access to a wide range of theatre venues
P42-
Brazil. What follows is an account of how
in S ão Paulo, but continues to search
BR AZILIAN
each tack led public space, the audiences
out unconventional sites in which to
AND
they found themselves ensconced with
house her visions.
WORKING WITH THEATRE K ANTANK A,
and the boundar ies that mar ked their
REPOR TED ON A RECENT VISIT TO SÃO
per for mances.
IN
REALTIME
BR AZIL’S
43),
95
(”PERFORMANCE
MEGA-ME TR OPOLIS,”
C ARLOS
DIREC TOR
GOMES,
BASED
A
IN
SYDNE Y
I n discussing The Idiot she said, “ We
wanted a space that held scene and public
PAULO, SU R VE YING THE WAYS IN WHICH
COMPANIES ARE ENGAGING WITH THEIR
Compania Livre’s recent wor k was an
in connec tion…moreover, we required
CIT Y, THEATRIC ALLY, POLITIC ALLY AND
adaptation of D ostoyevsk y ’s The Idiot,
that as the spec tacle developed, ac tion
IN
per for med over three nights in SESC
could occur concur rently in several
Pompeia, one of many SESC cultural
spaces.” Thi s was achieved through a
sites
Paulo
design which suppor ted a number of
VISITED THE CIT Y WHILE ON A KEITH
state (S er viço S ocial de Comércio is
over lapping per for mance areas, able to
AND ELISABE TH MURDOCH TR AVELLING
a
net wor k
transfor m quick ly, in keeping with, as
FELLOWSHIP.
ON
established in 1946 by the industr ial
Forjaz puts it, “ the subjec tivit y of each
THE WORK OF THREE COMPANIES WHO
sec tor). The site has a theatre space,
charac ter.” The success of Compania
CREATE WORKS IN WHICH THE Y OCCUPY
but instead direc tor Cibele Forjaz chose
Livre’s
PUBLIC SPACE.
a large empt y studio, adjacent to the
environment can also be attr ibuted to
theatre which has changed little since
the ac tors themselves. Accompanied
Whatever the countr y, theatre gives
its past life as a steel drum fac tor y.
by a musician and a small technical
itself the mandate to claim space and to
As
successful
crew, they ran, sang, hovered, danced,
unravel that space in order to establish a
contemporar y theatre direc tors, Forjaz
washed and prayed the space into
relationship with those whom it seeks to
has always had an appetite for unusual
ever-new for mations. When the wor k
make its public. I recently encountered
spaces. With her reputation she has
required
TERMS
OF
MELBOURNE
MAKER
URBAN
AC TOR
JAMES
HE
GEOGR APHY.
AND
BRENNAN
REPOR TS
THEATRE
RECENTLY
HERE
found
throughout
non- gover nment
one
of
Brazil ’s
S ão
cultural
most
well-integrated
the
ac tors
per for mance
to
ar ticulate
Thre e S ã o Pa u l o Th eatre Companies - James Brennan, para a R evista R eal Time, 201 0 .
somewhat st ylised moments, this was
wor k is mar ked by an inherent sense
moments
of
empathy,
ultimately
achieved with a sense of ease, as if
of distance. K astelo was exac tly the
Teatro da Ver tigem was unable to
an ex tens ion of their social selves
sor t of wor k I was hoping to see in S ão
br idge the gap bet ween audience
rather tha n heightened per for mance
Paulo —r isk y site -specific.
and ac tors. Like the protagonist, we
also struggled to achieve meaning ful
personas. Fur ther more when invited,
Per for med
contr ibuting
of
SESC building by ac tors on moving
charac ter istically
window- cleaning platfor ms, the wor k
Hand in hand with its commitment to
Brazilian moment, audience joined
was viewed by an audience seated on
explor ing alter native arenas in which
ac tors as they sang a well-loved bossa
swivel chairs scattered throughout
to
nova song dur ing the moving climax.
a disused office space on the four th
wor k has a strong social aspec t. The
Tear s rolled on and off stage and in
level of the building. The obvious
company ’s direc tor, Antonio Araujo,
that moment I was a fir m believer in
r isks of per for ming while suspended
listed projec ts which have engaged
“freedom inspires freedom.”
on cables were fur ther emphasised
with
by the ac tors, who, with an uncanny
areas and inside and outside var ious
Another company which chose to forego
absence
would
institutions. R ecently the company
the conve ntional per for mance space
jump off their platfor ms and hang
commenced wor k on a projec t in
offered at another SESC site is Teatro
from their har nesses. As the wor k
Cracolandia (“Crack Land ”), an area
da Ver tigem (R T95, p42). This time,
developed, there was an increasing
avoided by many S ão Paulo residents
the design and overal l effec t ser ved
amount of head banging against the
due to the high cr ime rate and drug
to distance audience and per for mer.
glass, sometimes done by swinging
use. As a consequence the wor k has
Given that the wor k was an adaptation
from a distance, which resulted in one
the potential to offer new perspec tives
of K afk a’s The Castle, K astelo, this did
of the ac tors dangling, upside down
on an area with a strong negative
not seem inappropr iate, since the
and bloody for long per iods. Eliciting
ambience, inbuilt and palpable. As
per mission.
to
In
an
a
atmosphere
on
of
the
outside
apprehension,
of
the
contac t.
the audience par ticipated comfor tably,
per for m,
Teatro
locations
in
da
cities
Ver tigem’s
and
rural
Thre e S ã o Pa u l o Th eatre Companies - James Brennan, para a R evista R eal Time, 201 0 .
with many of S ão Paulo’ contemporar y
“aim to promote new relations bet ween
blur r ing of boundar ies bet ween ar t
theatre wor ks, the projec t will involve
people and the space of the cit y, and
and life cer tainly fuels a fibrous ar tistic
a significant per iod of research in
are based in the exploration of the
discourse
Cracolandia itself.
fronti ers of the dramatic ac t.” With this
layered impac t of D eborah Kelly and
premise they ac t to infiltrate chosen
Jane M cKer nan?s power ful evocation
Opovoempé is a S ão Paulo theatre
social settings to “subver t operating
of the Tiananmen S quare protest, Tank
com pany whose agenda is focused
systems and alter the perception of
M an Tango (R T93, p2-3).
direc tly on public space. Since its bir th
par ticipants.” For t y years ago such a
in 2005, the company has made a ser ies
statement may have made them a target
With ever expanding public liabilit y
of public inter ventions in locations
for the Brazilian dic tatorship, however
laws
including not just streets, fairs and
these days their wor k resonates more
ac tivit y, companies such as these three
squares, but also super mar kets, train
as poetic provocation than political
play an impor tant role in questioning
stations
motivation
how we inhabit our environments and
and
shop
windows.
Their
and
has
received
the
and
br ings
defini ng
valuable
to
mind
acceptable
stimulus
the
public
wor ks range from the over tly theatr ical
suppor t of the State S ecretar iat of
provide
for
new
to the invisible, and draw on the legac y
Culture.
perspec tives.
late Brazil ian theatre maker, Augusto
B y offer ing new perspec tives of shared
I
B oal.
(literally
space and interac tions, Opovoempé
committed to heightening the collision
“people on their feet ”) reflec ts its aims
illuminates the public lives of S ão
bet ween theatre and life. I nterac ting
and “gives the idea of people moving,
Paulo
with
rather then r iding or sitting. People in
doing so the company calls for vivid
confir med my belief in the cr itical need
ac tive existence or operation.”
interac tion with the spec tator, to be
to deliberately exchange the space
“stimulated to perceive, see, imagine,
bet ween the real wor ld and theatre, in
inter fere, create, ac t.” Such an ac tive
such a way as to confuse expec tation.
of cultural ac tivism championed by the
The
company ’s
title
The company states that their projec ts
residents
and
beyond.
In
have
always
these
been
companies
intuitively
in
Brazil
Thre e S ã o Pa u l o Th eatre Companies - James Brennan, para a R evista R eal Time, 201 0 .
This may not only awaken the sleeper,
but can also transfor m our cities and
towns into places of social communion.
B y magnifying and direc ting per for mer
abilit y to manipulate space, time and
meaning, each of these companies
illustrates the power of the individual
to transfor m space and thought well
beyond the walls of the theatre.
James Brennan is the recipient of a
Keith and Elisabeth M u rdoch Travelling
Fellowship. He is cur rently in New Yor k
and will then wor k with G ardzienice
in Poland and train with D eborah Hay
in S cotland before visiting France and
Russia.
Liminalities: A Journal of Performance Studies
Vol. 5, No. 3, September 2009
What the Fuck is That?
The Poetics of Ruptural Performance
Tony Perucci
Recent years have seen a rise in the practice of political street performance. Often called
“interventions” or “performance activism,” many of these actions exceed the transparent political
messaging of traditional agit-prop performance. Rather, they mobilize the particular qualities of
performance as embodied action—what I call “ruptural performance”—as a modality in opposition
to the stultifying effects of the society of the spectacle. Drawing on Brechtian aesthetics and the
Artaudian embodiment of “the poetic state” as well as the (a)logic of Dada and the materialism of
Minimal Art, ruptural performance enacts interruption, event, confrontation and bafflement as a
form of direct action.
“Every day, do something that won’t compute”
— Wendell Berry, The Mad Farmer’s Manifesto1
Much of today’s activism emerges out of an experience of the totality, of the
intractability and intransigence of consumer culture, and of what Guy Debord once
called “the society of the spectacle.” It is an aesthetic response to a political/cultural
crisis, not to mention an ecological, psychic and economic one. This essay addresses
what is particular to the performance of what are variously called “interventions” and
“performance activism.” These actions’ characteristics as performance work in ways that
are specific to their form and exceed any “message” or content that they might (or
might not) seek to convey. The conditions of inequity and ecological disaster that are
intrinsic to consumer culture are now an open secret – or not even a secret but an
accepted fact of life. Perhaps this is even truer now in the face of what has been
named “the current economic crisis,” which spurs the call to “drill baby drill” and
Tony Perucci (Ph.D. New York University) is Assistant Professor of Communication Studies
at the University of North Carolina at Chapel Hill. He is also a founding member of The
Performance Collective, which makes theatre and trouble.
Thanks to Performance Collective artists Kaitlin Houlditch-Fair, Lisa Keaton, Grace
MacNair, and Peter Pendergrass for introducing me to this quote in their beautiful performance piece, “The Rebirth Manifesto.”
1
ISSN: 1557-2935 (online)
<http://liminalities.net/5-3/rupture.pdf>
Poetics of Ruptural Performance
!
sends Wal-Mart sales through the roof while the rest of the economy collapses.
Ecological crisis and sweatshop labor are no longer concerns that we think we can
afford to address in daily life. In the face of such conditions, Jacques Rancière points
out the challenge of what he calls the dilemma of “critical art” thusly: “understanding
alone can do little to transform consciousness and situations. The exploited have
rarely had the need to have the laws of exploitation explained to them. Because it’s
not a misunderstanding of the existing state of affairs that nurtures the submission of
the oppressed, but a lack of confidence in their own capacity to transform it” (83). In
what follows, I argue for and trace out the critical characteristics of this insurgent
form of performance activism that I am calling “ruptural performance.” Ruptural
performances are distinct less because of a communicated message of their content
and more by their qualities as performance: they are interruptive, becoming-event,
confrontational, and baffling. Understanding performance as rupture provides a
significant way to think about and create interventionist and political performance
that places the focus centrally on the act of performance.
This emergent genre of performed activism pays a particular debt to the
pranksterism of Abbie Hoffman, the détournement of the Situationists, and the absurd
enactments of Dada performance. These performance interventions are best known
today through the practice of culture jamming and by the staged performances of
Reverend Billy and the Church of Stop Shopping, The Billionaires for Bush, and the
Yes Men. Such interventions, as well as those by lesser-known artists (partly because
their strangeness cannot be easily accommodated by media coverage, political activists
and academic theorization), can be understood through the notion of “performance
as rupture” (Perucci “Guilty” 315-329). Rupture itself is not a “new” element in
culture, and it certainly has a long legacy in modernism as the breach, shift or break.
But it has a particular resonance in current activist practices that are both freer and
more delimited than previous such enactments.
To define performance as rupture, we must articulate what it ruptures. At the risk
of constructing a false binary, let me propose that the obverse of “performance as
rupture” is Debord’s “spectacle.” Debord explains that while the society of the
spectacle is indeed an “accumulation of spectacles,” (Society 12) he distinguishes that
“The spectacle is not a collection of images; rather it is a social relationship between
people that is mediated by images” (Society 12). While he calls it a “weltanschauung”
(Society 13) it is more than an ideology or a veil of false consciousness. Rather it is “the
very heart of society’s real unreality,” (Society 13) and in that materiality extends the
alienation of the production of the commodity to its consumption: the spectacle
produces “isolation” through the shift from doing to “contemplation,” where “The
spectator’s alienation from and submission to the contemplated object […] works like
this: the more he contemplates, the less he lives” (Society 23). Ultimately, the spectacle
as “social relationship” represents the triumph of the commodity-image, the “ruling
order’s … uninterrupted monologue of self-praise” (Society 19) where “the commodity
completes its colonization of social life” (Society 29). In understanding the spectacle as
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not merely spectacles, but a modality of experience, in which separation and
contemplation flatten the encounter with presence, Debord proposes “situations”
specifically to intervene at the level of the experience.
However, in his recent attempt to characterize the new activism, Dream: Reimagining Progressive Politics in the Age of Fantasy, Stephen Duncombe proposes that
spectacle is itself the basis for protest, and that the distinction of the spectacle and the
situation is merely “semantic” (130). Instead, he proposes “the ethical spectacle”:
our spectacles will be participatory, dreams the public can mold and shape
themselves. They will be active: spectacles that work only if people help create them.
They will be open-ended: setting stages to ask questions and leaving silences to
formulate answers. And they will be transparent: dreams that one knows are dreams
but which still have the power to attract and inspire. And finally, the spectacles we
create will not cover over or replace reality and truth but perform and amplify it. (17,
emphasis added)
There is much to be gained from Duncombe’s schematization here. And what I wish
to do is revise and amplify it by challenging his dismissal of the distinctive character
of “spectacle.”2 As I have tried to show in my brief summary above, the spectacle is
not just a thing to be seen, but is also a mode of performance. Interventionist
performance, particularly that which seeks to challenge and disrupt the values and
especially the experience of the society of the spectacle, is another modality of enactment
rather than a variation of spectacle. While performance interventions share with
spectacle the qualities of being dramatic and theatrical, what distinguishes them is that
they disrupt the experience of daily life, a rupture of the living of social relations—
what Reverend Billy of the Church of Stop Shopping calls “the necessary
interruption” (What Should I Do, xiii). The interruption, which Benjamin might call the
“sudden start” or the “shock” (163), creates the space for and initiates the experience
of a ruptural performance.
While bearing in mind the promising schema laid out by Duncombe, but also
taking into consideration the particular characteristics of the society of the spectacle
upon which much “interventionist” work means to engage, I am calling for a
proliferation of ruptural performances. Below is an attempt to trace out rupture as a
“modality” of performance that means to disrupt, or at least, to fuck with the
spectacle.
Given Duncombe’s setting of “dreaming the impossible” (158) as a critical
element of performance activism, I will introduce my schematic be means of an
example from a fiction film. The 2004 film, Die Fetten Jahre Sind Vorbei (The Fat Years
are Over, released in the US as The Edukators, d. Weingartner) begins this way: an
In Duncombe’s defense, the rationale for claiming the term spectacle and redefining it was a
“tactical” choice for his book that enables the appropriating of his framework for activism.
(Personal communication, October 2007) Still, I would suggest that “spectacle” in the
Debordian sense and rupture are incompatible, even if the performance is “spectacular.”
2
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affluent German family returns to their home to discover a break-in. Their first sign
of trouble is a massive tower made of their dining room furniture. They gaze at the
sculpture, frozen with bafflement. Nothing, however, has been stolen. But their many
commodities have been humiliated: a porcelain bust is hanging from a noose, glass
figurines are found stuffed in the toilet, the stereo is in the refrigerator, and finally a
letter that says “Lesen!” (“Read!”). Inside reads the message from the anarchist group
that reorganizes the possessions of wealthy residents: “Die fetten Jarhre sind vorbei.”
They stop and stare, confounded.
Figure 1 - Humiliated Commodities in Die Fetten Jahre Sind Vorbei (2005, d. Weingartner)
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Figure 2 - Interrupted in Die Fetten Jahre Sind Vorbei (2005, d. Weingartner)
1. Ruptural performances are interruptive. In some way these performances halt,
impede, or delay the habitual practices of daily life. They intervene at the level and in
the midst of the quotidian. Such performances engage the “necessary interruption”
which seeks to make conscious what is habitual so that it is available for critique. In
this way it shares Debord’s notion of the constructed situation—“the concrete
construction of temporary settings of life and their transformation into a higher,
passionate nature” is inherently interruptive as it “asserts a non-continuous
conception of life” (“Report” 48). They seek to destabilize what the Russian Formalist
Viktor Shklovsky called the “automatism of perception” (13). For Shklovsky, the role
of art is to undo “habitualization,” which he says, “devours works, clothes, furniture,
one’s wife, and the fear of war” (12). Such a reclamation of perception Shklovsky calls
“defamiliarization” (13), for which the Russian phrase is priem ostraneniye, and that
translates literally as “making strange.” Brecht realized the political potential for this
concept as the Verfremsdungeffekt, which is foundational in that it focuses on the
experience of making the familiar strange as much as the transmission of a political
message. In the speed-up of a contemporary life characterized by images and
simulations, these performances engage what Walter Benjamin calls the “interruption
of happenings” that estranges the “conditions of life” (150). It is this interruption,
Benjamin suggests, that allows performance to obtain the “special character [of] …
producing astonishment rather than empathy” (150). Interruptive performance,
however, occurs not at the level of representation, but on the field of presence. It is
achieved by “putting a frame” around experience (more in John Cage’s than Erving
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Goffman’s sense) that produces what Richard Bauman calls a “heightened intensity”
or “special enhancement of experience” (43).
The Brazilian group, Opovoempé,3 has performed their Guerrilha Magnética (Magnetic
Guerilla) and other intervenções (interventions) throughout public spaces in São Paulo.
In 2006, they composed and performed Congelados (Frozen), a series of intervenções,
throughout the city’s supermercados. The performances consisted of simple and
improvised ensemble compositions constructed through the use of gesture, repetition,
spatial relationship, and kinesthetic response.4 The piece, in its basic performance of
the actions of shopping, defamiliarizes the activities of shopping.
Figure 3 - Congelados (Frozen) (2005) – One of Opovoempé’s Guerrilha Magnética
(Magnetic Guerilla) in São Paulo, Brazil.
Opovoempé, which translates to English as “people on their feet,” was founded in São Paulo,
Brazil in 2004 by Ana Luiza Leáo, Christiane Zuan Esteves, Graziela Mantoanelli, Manuela
Afonzo, and Paula Lopez. For more on Opovoempé, see www.opovoempe.org.
4The Viewpoints, first conceived by choreographer and theorist Mary Overlie (and revised by
theatre director Anne Bogart), works to challenge what Overlie calls the “Vertical” theatrical
system that privileges plot and character over other theatrical elements. Overlie has developed
a full re-conceptualization of theatrical practice, as well as specific rehearsal, training exercises,
and performance strategies to encourage performers and directors to engage on the
“Horizontal.” All elements, or Viewpoints, of the stage are in equal value and particularity:
Space, Shape, Time, Emotion, Movement, and Story. Bogart has broken these down further:
tempo, duration, kinesthetic response, repetition (elements of time), spatial relation, shape,
topography, gesture, and architecture (elements of space) (Bogart and Landau). Viewpointscomposed pieces treat these elements as Horizontal to plot and character (more akin to
instrumental music or postmodern dance). For a discussion of the use of Viewpoints in
creating theatre performances, see my “Pretty Isn’t It?: Adapting Film Noir to the Stage.”
3
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Figure 4 - Opovoempé performing an intervençõ at a supermercado in São Paulo, Brazil.
[view video of the intervention here: http://www.opovoempe.org/?page_id=211]
The “choreography” that constitutes the “dance and music of buying” only gradually
becomes evident, as the repetition of the banal gestures of shopping begins to mark
their strangeness as performance (“Nos Supermercados” Esteves).5 Though the
content of the action is not overtly political (it does not scream its ideology), it makes
the encounter with shopping, and especially its mindlessness and repetitiveness, seem
strange. At its foundation, the pieces are rupture-producing machines: “The
interventions intend to cause rupture of communication barriers, revelation of humor
and play, change in the use of public space, and the manifestation of latent contents
or social tensions previously unnoticed” (“What is” Esteves). That rupture is
specifically political—particularly in mobilizing the poetic state of quotidian settings.
Guerrilha Magnética performances are intended “to break apathy and indifference, to
install a creative atmosphere of play and to reveal the poetic content of the city”
(“What is” Esteves).
Guerrilha Magnética’s movement from invisibility to visibility is distinct from the group’s “Fora
de chava (Out of Key(s))” where the event of performance is distinctively marked from the
start.
5
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Figure 5 - The author in performance with Opovoempé in the Guerrilha Magnética, “O que se viu que você vê
(What Was Seen That You See)” (2007) on a freeway overpass, on Avenue Paulista, and at a police
substation in São Paulo, Brazil. Photos by Christian Castanho.
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2. Ruptural performances are becoming-events. That is, they do, as Dell Hymes suggests,
“breakthrough into performance” (11). And while their boundaries are unstable and
unfixed, it is the ruptural performances’ eventness, their status as singular in time and
space, which enables the presencing that the spectacle confounds. Alain Baidou puts
it this way: “This other time, whose materiality envelops the consequences of the
event, deserves the name of a new present. The event is neither past nor future. It
makes us present to the present” (39). And yet the instability of the boundaries of the
event is equally significant. Ruptural performances tend to confound boundaries of
the real and artificial. The actual event of performance is generated by means of
artifice, in which audiences often don’t initially realize that they are in a performance.
In ruptural performances, audiences often first suspect that something isn’t right, but
are not sure if something is amiss. Ultimately, though, the “breakthrough” occurs that
things aren’t normal, they are strange, and we are in the midst of an event. It is this
eventness (and the anticipatory process of becoming event) that enlivens the occasion
of the here and now. And that temporal immediacy is captured well by Benjamin’s
invocation of Jetztzeit or the “presence of the now” (261).
One becoming-event that has been performed around the world is the “whirl.”
The whirl consists of a group of fifteen or more people entering a sweatshop store a
few at a time (most often a Wal-Mart, thus the sometimes-used moniker: “WhirlMart”) who move empty shopping carts throughout the store. Once all performers
are inside and with carts, the participants create a single line of carts that snakes
throughout the store, splitting and refiguring as the snake of carts meets up with
blocked aisles and shopping customers (which must look like a Busby Berkley dance
sequence to the overhead security cameras). 6
View videos of whirls here: http://www.archive.org/details/WhirlMart and here:
http://www.thevacuumcleaner.co.uk/whirlvid.html
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Figure 6 - The becoming-event of performing the whirl.
During the hour or more of the performance, if asked by management, security,
employees, or customers what they are doing, performers respond kindly with “I’m
not shopping.” As performers make their rounds, it is the employees who first
encounter the becoming-event, then the customers, then management (who begin
manically communicating on walkie-talkies), and finally security. When security gets
wise, it’s time to return the carts and exit the store. As ruptural performance, the whirl
does not make any specific claim on protesting the many things one could advocate
against—sweatshop labor, poor treatment of store employees, predatory business
practices, etc. ad infinitum—given that all present could recite this litany of wrongs.
Rather the whirl enacts the becoming-event of “not shopping,” which in itself can be
read as an engagement against over-consumption, Wal-Mart’s imperialism, unfair
labor practices, or ecological devastation.7
3. Ruptural performances are confrontational. By this, I don’t necessarily mean
aggressive, though they may be that. Rather, it is as Benjamin puts it, where a
This description of the “whirl” is based on my experience participating in Whirls at Los
Angeles area Wal-Marts under the guidance of Bill Talen and Savitree Durkee in 2004 and
2005. Talen describes an array of ruptural performance retail interventions in his book What
Would Jesus Buy? A history and description of the whirl can be found at
http://www.breathingplanet.net/whirl/.
7
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“stranger is confronted with the situation as with a startling picture” (151). Ruptural
performance is thus distinguished from the “revelatory” performance that unmasks
the hidden truths (though it may also do this). In our age, what Marx called the
“secret of the commodity”—that its price masked the alienated labor that produced
it—is now exposed. We know, for instance, that many of the products we buy are
produced by sweatshop, child and slave labor; but we have developed what Adrian
Piper calls “ways of averting one’s gaze” (“Ways” 167). Ruptural performance is thus
less a critique of ideology or false consciousness, and is more about the experience of
the encounter of returning one’s gaze to that which one avoids to maintain
acceptance of the inequities of the contemporary social orders. As Husserl notes,
“Things are simply there and just need to be seen.” Bruce Wilshire also gets at what
I’m talking about when he describes phenomenology as a “systematic effort to
unmask the obvious” (11). In fact, this quality is what Michael Fried complained
about as the central quality minimal art: its “stage presence” or “theatricality” where
“the work refuses, obstinately, to let him alone—which is to say, it refuses to stop
confronting him” (140). And in this way, ruptural performance owes as much to
Minimalism as it does to Dada. As such it enacts what Fred Moten suggests is not
only an “excess of meaning” but also “the anti-interpretive nonreduction of
nonmeaning” (197). Ruptural performances, like Minimal Art, are characterized by a
“concrete thereness,” that Barbara Rose says is a “literal and emphatic assertion of
their own existence” (216). As Rosalind Krauss says of Donald Judd’s work, we can
say of Ruptural Performance: it “compels and gratifies immediate sensual
gratification” (211).
On February 29, 2008, two days before the Russian election that resulted in the
victory for Vladimir Putin apprentice Dmitry Medvedev, the Russian group Voina
(“War”) confronted patrons of the Moscow Biological Museum with a display of
sensual gratification in the form of a “collective fuck action” (www.indymedia.org).
Five Russian couples surreptitiously disrobed and proceeded in an extended session
of group sex as bearded man with a top hat and tuxedo holds aloft a sign that reads
“Fuck for the heir bear cub.” The phrase is a play on Medvedev’s name, which is
derived from the Russian word for bear (Medved).
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Figure 7 - Voina’s collective fuck action, Fuck for the bear cub (2008) in the Moscow
Biological Museum. https://www.indymedia.org/images/2008/03/901903.jpg View
video of this action here: http://www.liveleak.com/view?i=a4d_1204458756.
Though Reuters described the “stunt” as a “wry commentary on the handover of
power—decried by opponents as undemocratic” (Thomas), it is certainly more than a
straightforward piece of political agit-prop. If for no other reason, this can be
determined by the wildly divergent interpretations of the act as it has been
disseminated on the Internet. Some read it as a critique on the undemocratic qualities
of the Russian election (www.reuters.com), some as offering support for the incoming
president (http://community.livejournal.com/anarchists/2318694.html), some as
animal rights protest in defense of bear cubs (http://sanseverything.
wordpress.com/2008/03/04/russian-animal-rights-orgy/), and even as a “Crazy
Russian Teen Orgy” at teen-orgies.com. But even more than this, it is constituted by
the materiality of the confrontation by live bodies in the midst of public sex. Similarly,
in Voina’s action days before Medvedev’s inauguration (May 6, 2009), the group
entered a Russian police station pasted photos of Medvedev, formed a human
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pyramid to recite a poem by D. A. Prigov,8 and attempted to serve the officers tea and
cake.9
Figure 8 - Voina, Humiliation of Cop in his Own House: The human pyramid of
dissident poetry.
-- The poem is “The Plumber Will Come” :
“Here comes the plumber
-- He'll ruin the lavatory pan
-- The gas-man will ruin the gas
-- Electrician guy will spoil electricity
-- Fireman will set a fire
-- Delivery man will do something mean
-- But the Policeman will come
-- And tell them all
-- No fooling around!” (Prigov)
Thanks to Radislav Lapushin & Olya Petrakova Brown for translation and citation assistance.
9 A more recent action (September 7, 2008) found Voina celebrating Moscow city day by
“hanging” two gay activists and three immigrant workers in a Moscow supermarket.
http://publish.indymedia.org/en/2008/03/901901.shtml
8
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Figure 9 - Voina serves tea and cake at the police station. View video here:
http://www.youtube.com/watch?v=796-g_NQobA&feature=related
4. Ruptural performances are baffling and confounding.10 Rather than a pragmatic
approach to efficient communication that disables so much political art, ruptural
performance is indebted to Mary Overlie’s concept of “doing the unnecessary.” For
Overlie, the “unnecessary” action undermines performance’s “efficiencies”11 by doing
that which is not called for in habitual activity (www.sixviewpoints.com). “In these
unnecessary activities the body, senses and objectives leap into alertness because they
do not know the routine. The body and the mind are put in a state of high awareness
and therefore function with thrilling accuracy stretching performance into
extraordinary performance” (Overlie). Thus ruptural performance is paradoxically
Minimalist and Maximalist.
Ruptural Performance embraces the notion that the political message is
sometimes not immediately clear, but instead embodies what Artaud calls “the poetic
state” (122). Rather than the clarity of agit-prop performance’s political messaging,
ruptural performance is characterized by “true dreams and not [...] a servile copy of
reality” (86). This “attack on the spectator’s sensibility” (86), Artaud says, is a form of
“direct action,” (87) and aligns with contemporary activism in the resurgence of neosituationists and neo-anarchists like Crimethinc, whose Recipes for Disaster: an anarchist
cookbook instructs its readers on “direct action” (which they consider to be the
“opposite” of “representation” (13)) that “sidesteps regulations, representatives, and
It is noteworthy that Brecht describes one element of the Verfremsdungeffekt as when “What
is obvious is in a certain sense made incomprehensible” (143).
11 On performance efficiencies see McKenzie, Perform or Else: From Discipline to Performance.
10
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Tony Perucci
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authorities” (12). In their advocacy of replacing “representations of sex” with “real
sex,” they assert the theatrical dimensions of direct action: “It’s time to stop being
spectators and start being actors” (Days of War 201, emphasis in original).
The materiality of direct action and Artaud’s emphasis on the “immediacy” (123)
of the poetic state occur at the “rupture between things and words” (7) and thus work
at the conjuncture of the phenomenological literalism of minimalism with willful nonsense of Dada in producing a “concrete expression of the abstract” (64). If Brecht
moves from the spectacle’s “ooh” to Epic Theatre’s “Aha!,” (Duncombe 146) then
Artaud adds the element of “hunh?” Ruptural performance puts the “strange” back in
estrangement. In this way, the rupture is, following Adrian Piper, “catalytic”
(“Talking” 32). In her Catalysis series, the work of art was but a “catalytic agent
between myself and the viewer” (“Talking” 42) that creates an “ambiguous situation”
(“Talking” 43):
For Catalysis IV, in which I dressed very conservatively, but stuffed a large white
bath towel into the sides of my mouth until my cheeks bulged to about twice their
normal size, letting the rest of it hang down my front and riding the bus, subway,
and Empire State Building elevator; Catalysis VI, in which I attached helium-filled
Mickey Mouse balloons from each of my ears, under my nose, to my two front
teeth, and from thin strands of my hair, then walked through Central Park and the
lobby of the Plaza Hotel, and rode the subway during morning rush hour.
(“Talking” 43)
Figure 10 - Adrian Piper, Catalysis IV (1970). Photo by Rosemary Mayer.
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Poetics of Ruptural Performance
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Piper explains that familiar structures of sense-making “prepare the viewer to be
catalyzed, thus making actual catalysis impossible” (“Talking” 45). In this way, the
work of art/activism can be as Félix Guattari says is an activity of “rupturing sense”
(131) – and in its uncategorizability, its uncontainability, and its ungraspability12, it is
no longer easily dismissed as political protest.
If there is a proper response to ruptural performance, it is to say, “What the fuck
is that? No, really, what the fuck is that?” Ruptural performance seeks to “escape the
tyranny of meaning,” to use Barthes’ phrase (185). And I’ve overheard the
conversations to the agit-prop piece: “What’s going on?” “Anh, some kinda protest.”
And then they amble on. When my students recently performed an open viewpoints
session next to a massive 10-foot tall anti-choice monument of late-term aborted
fetuses, a student came up to me and asked, “Do you know what’s going on?” I said,
“What do you think is going on?” He replied, “I dunno. It seems symbolic.”
“Symbolic of what?” “I don’t know!” he said as he continued to reckon with the
performance from various positions. In the mode of performance that I want to call
the rupture, that is interruptive, becoming event, confrontational, and confounding, “I
don’t know” is a response not easily managed by the spectacle.
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