Comment

Work and process

Posted by on Jul 25, 2013 in Comment | 0 comments

  Tim Charles On Tour with Optik   This autumn Optik began a national tour with their new show Stranded, their fifth since their formation in 1981.  Stranded is partly inspired by The Tempest, and the text has been provided by Lou Glandfield of IOU.  However, Edwards will only use the text as a basis for developing the show.  Edwards’s work with Optik is the culmination of a mature style that has evolved during his work in performance art over the past 15 years. Pre-Optik Edwards worked extensively as a director, principally with...

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A Tele-Presence Experiment

Posted by on Sep 30, 2011 in Comment | 0 comments

A TELE-PRESENCE EXPERIMENT: OPTIK IN SAO PAULO + LONDON First published in BST Journal Vol 1 No2 2001   Optik is a company that works largely in international collaboration producing site-based installation and performance work. As part of a project happening in Brazil in October 2000 an experiment took place in tele-presence linking up in real time two performance sites, one in Sao Paulo and one in London. Preparation The first stage of the experiment took place at Brunel University on Saturday October 14 2000, two weeks before the...

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xstasis

Posted by on Sep 28, 2011 in Comment | 0 comments

Performer voices Comments written by the young professionals working on othis project Optik in montreal: xstasis     Laura so I’m there in the space, almost crying or rolling on the floor with laughter and I don’t have any intellectual understanding of a why. There’s something really fascinating about that, something really sacred, tapping into something that raw and unpredictable.   As moments of synchronicity happened in performance, I felt that the audience instantly became part of them – so much so that I...

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Waring Review

Posted by on Sep 28, 2011 in Comment | 0 comments

Apple Theatre seeks way to bewilderment   International Times IT/52 March1969   Wes Waring   There are no absolutes in theatre. Stasis occurs when creativity has stopped: the thing that happens then is no longer art. Art is a continuous process, a process of exploration: working in isolation the actor can only examine himself, but when he can elicit responses and establish a direct emotional communication with someone else, the creative and exploratory process is complete. In the long history of western art, compartmental...

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Union Chapel Discussion

Posted by on Sep 28, 2011 in Comment | 0 comments

OPTIK Live Art Performance Training Discussion following the observed training session and the performance by Optik. Union Chapel London January 28 1996  Chair: Susan Melrose ______________________________________________________________________________   Susan Melrose (SM) I have been watching Optik since 1991. I have watched them through development and changes of performers: addition, subtraction, lousy reviews with people walking out half way through and slamming doors, many successful moments, interesting moments. So I’m...

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Tank Commentary

Posted by on Sep 28, 2011 in Comment | 0 comments

TANK Created and directed by Barry Edwards A Commentary by Susan Melrose   The end of shared significance Barry Edwards’ latest live work is an instance of a complex performance metapraxis. The primary focus seems both banal and mysterious : what are the bases for performance decision making, by metteur en scene and performer in both the pre-performance and the actual performance work itself ? Are the decisions made of similar implication and ‘meaning’ potential for all participants – that is for the artists and for the...

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Elizabeth Stewart Discussion

Posted by on Sep 28, 2011 in Comment | 0 comments

Transcript of an interview/discussion between Barry Edwards and Elizabeth Stewart.   Stewart: Looking at notes made after seeing Second Spectacle, I postulated that the piece was built up from a basic story but with crucial things removed. When I asked you about this afterwards, you said that this made the structure less specific and allowed a wider range of possible associations. There are several points to raise here, but first of all, what did you mean by a range of associations?   Edwards: The question of the story line is rather...

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Meditations on Space

Posted by on Sep 27, 2011 in Comment | 0 comments

Meditations on Space: Talking to Optik Author: Jackie Smart   This article first appeared in BST Journal Early this year, I spent some time with Optik while they were creating their production Space for the Camden Centre, a large Art Deco civic hall. Performed on 18th and 19th February, Space involved 6 performers (the largest number in an Optik production to date) working with a sound and a video artist. Given that Optik’s work is improvisatory and relies very heavily on the performers’ interactions, the space I was particularly...

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Sighted Commentary

Posted by on Sep 27, 2011 in Comment | 0 comments

Transcript of a discussion with a student group after a performance of Short Sighted. October 1982   Q: Where does the idea for a piece come from?   BE: That’s a good place to start. I bring a set of stimuli to the early rehearsal and we have discussions about the new piece. For One Spectacle I used a folk tale from the Chinese called The Two Travellers and one song from a Schumann song cycle. In Second Spectacle, to contrast with the mood and imagery of our first piece, I turned to the early 20th century, the Futurists and Mahler...

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Presence Review

Posted by on Sep 27, 2011 in Comment | 0 comments

Performance Research Journal Routledge January 2004 Moving Bodies Issue A moving meditation on a dead line Tracey Warr   interrupted. All the time and eventually irretrievably. Although Bataille sees life disrupting the continuity of death. Continuity and/or caesura. Moving and stopping.   Moving. Going. In October 2001 I went with UK performance group, Optik, to Sao Paulo, Brazil (Edwards, 2003). Optik explore moving....

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