The first stage development of epoche-lacan-orbits is called kelley-gander-floyer, a quick invocation of Mike Kelley, Ryan Gander and Ceal Floyer.
It is a score for 100 performers, who over an hour, are invited to utter or absorb some of the aggregated material, consisting of huge amount of correspondence, conversations, academic papers, dramatic monologues, and spoken arguments. This text is placed in the ears of the performers, Ivan’s vocal takes recorded in Track 12. As a result, the ambient noise of the room, from install noises in the foyer, to passing trains rumbling are captured. The text was recorded repeatedly, each time erasing the existing vocal take. The heard voice is exhausted, often soporific and laboured, occasionally making errors – the typed line being performed again and again. The speaking voice is laid over the music of James Brown, Austin Buckett, Lachlan Hughes, and Marcus Whale, which is collaged on top of each other without identification. Each performer hears a unique, accompanied narration through identical headsets, the technology of which means that the ‘line’ of the recording must be left to pass its full duration before repeating – there is no way to skip forward or alter the time.
The performers are spatialised, orbits around the space around sections of light, in and out of the room – track 12 is but one in a constellation of performance sites which make up Carriageworks. Choreography is delivered as actions, designed to provoke an appropriate response from Ivan. The ‘ensemble’ that attempts this without an understanding of the performance language, has no hope of interpreting the work cohesively, especially upon ‘sight reading’.
As well as orbiting performers in and around the building, the recordings operate in and around the building. The theatre curtains move in circles, in sections, around the room, letting in ambient light and then shutting it off. A timed haze attenuates with passing time and the opening of doors, The performers move in and out of the focused performance space and the larger world.
The performers are invited to wear visors made of mylar rectangles on a circlet of wire. The thick mylar is a tinted lens, and in a spotlit black-box, one proceeds cautiously. As they move through the space, and as gentle wind enters the space, the mylar ripples, distorting light, distorting the vision. As doors open, the curtains billow
Steel sections are in the four corners of the room – they move inward. The curtains orbit the room, spilling natural light into the space and then closing it off as well. Outside, in a grid of light, is a golden mylar blanket, the same footprint as the inside. There have been people lying underneath it from the beginning, delivering text as dialogue.
(selected texts, images, documentation,
and details of commissioned paintings by Neil Addison Beedie
from documentation images. oil on mylar)