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美术 > 2014年驻馆艺术家
Roswitha Gerlitz(舞台艺术)德国

[2013-12-11 14:28:48]


Roswitha Gerlitz(舞台艺术)德国

 

1955年出生

多媒体作品和工作表现为基础的工作。

视频从表演剪辑网站:www.roswithagerlitz.co.uk

 最近的工作2013年和详细的简历可以看出,在我的网站:www.mistressoftime.com

 

自述:

ARTIST STATEMENT

I began my career as a stage and costume designer in theatre, opera and dance,

working internationally from my London base. After many achievements as a designer, I

decided to pursue my interests in art and directing, working as a visual and

performance artist in 2001. Since then, I have exhibited visual artwork and have written,

directed, designed and produced multi-disciplined performances

My work incorporates the spoken and sung word, movement, operatic elements, some

digital imagery and has involved working with groups of actors, dancers, artists,

acrobats and musicians in established theatre spaces. The future will see me to go

beyond the theatre’s framework of the proscenium arch and thus investigating the

possibilities to combine site-specific approach with opera and performance art.

In 2010 I worked on a contemporary operatic event with an ensemble of seven

performers, which sparked the idea to take this ensemble piece further – to discard of

the protagonists and create a work led by the ensemble, the ‘chorus’ exclusively. The

idea led me to an in-depth research study of the chorus and its relation to the

protagonist at Brunel University in order to expand my knowledge and broaden my

skills to complement my work. Theoretically I looked into the chorus’s genealogy and its

role in opera historically and philosophically - while in practice I developed the idea to

the chorus as the protagonist in contemporary opera’ to combine performance art with

opera.

The research has nurtured my artistic practice in many ways, built an underlying basis

and has opened my mind to a vast amount of material. The luxury of time for research,

reflection and investigation into new thought processes has produced a public showing

of four experiments. It is the culmination of these experiments, which opened to

innovative, alternative ways of my artistic practice.

Activity plan/genesis to new work ‘now,soon,not yet’ during the residency period

It is my aim to develop a new form of performance: to combine opera with performance

art/installation.

I envisage this work as being delivered by dialogue, monologue, musical composition and

physical movement while visually it may evolve from different media/installation. Thematically

informed by selected topics from our present state ‘of and in the world’, it might also offer a

glimpse of an imminent future. Instead of a narrative, the event will shape itself by the number of

subjects chosen; it will create its own structure and form itself during an intense research and

development, and an explorative workshop period.

The 21st century changes us and our way of living, our sense of community, moral, values,

consciousness, down to every single detail of the ordinary day. Science promises new ways of

living physically and mentally while scientific thought reached its limits, technological advances

appear plentiful and skyrocket. Time itself and the experience of time changes – virtual time, real

time. Questions like ‘How does it affect/alter our sense of reality, communication, relationships?’

hover like clouds worldwide. In Western society, the individual’s privacy became transparent; are

we as transparent collectively? How are these developments perceived by eastern society?

The distillation of these current and future phenomena: what kind of expression might it create,

and how does it make you feel? I want to gain a deeper understanding of eastern thought and

cultural practices first hand by working and living in the country. I am eager to broaden my

artistic goals by learning from the eastern society, to exchange techniques, methodologies and

practices from Asian artists using my own work experience.

Genesis: Over the period of one year I filtered and filed articles concerned with issues of present

and future global impact on politics, economy, science, philosophy, society, art and technology.

What began as an exercise to keep me informed, gradually turned into a somewhat vague intent

to create a random collage of these apparently pressing matters worldwide. Like random

puzzle parts, the accumulation of these topics would create a picture that speaks for itself when

assembled. While doing so, the sheer impossibility of the task crystalized, the incapability to

digest such overload of information: The vastness of information crashes through mental and

physical limits, eventually rendering itself meaningless.

This experience gave the impetus and the core question of the new long-term project I want to

develop: how are we/you living? And further: How do we/you choose to live – how much do you

expose yourself to the influence of the external? The subject of the chorus/protagonist, the

micro/macro, collectivism/individualism, their point of attraction and the individual’s personal

(emotional) experience is at the heart of my work.

Inspirations from Asian and European artists: Kim Sooja, Sung Hwan Kim and Lee Yongbaek,

Miao Xiaochun, Tong Hongsheng, Wang Qingsong to name a few. The composer John Cage’s

multimedia performance of ‘Europeras’ and Hajnal Nemet’s mixed media installation ‘Crash’

collaboratively developed with composer and singers to build an acoustic and visual experience.

Performance artist Tino Sehgal who insists of the “live experience” and theatre director

Christoph Marthaler’s unique approach to text, music, physicality and above all - time.

ACTIVITY PLAN: Intensive research/development period culminating in a presentation.

1st stage: writing period - from a compilation of topics establish libretto/text, visual and

sound/musical inspiration board, sketches, digital imagery for practical exploration (opportunity

for presentation in form of talk/lecture following feedback/discussion)

2nd stage – explorative workshop period with text/libretto, the performer’s physical movements,

objects, audible and visual elements. Ideas can be investigated with performers (possible

involvement of the local community).

3rd stage – evaluate, adapt, re-write, re-assess, results of the process can be in form of an

internal or semi-public presentation.

4th stage – work-in–progress presentation following feedback/discussion/debate.

ADDITIONAL MATERIALS

1. All past work including video clips from performances at website:

www.roswithagerlitz.co.uk

Shortcuts to videos of performance: click on ‘spaces,light,sound’, click the balls lighting

up yellow and green.

Art work: ‘Movement,shadow’

Drawings: ‘trails,traces’ show drawings

Poems: ‘words,phrases’ are poems

2. Recent work 2013 and detailed CV can be seen at my website:

www.mistressoftime.com

3. An example performance text and a lecture/research text attached to email.


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