Anatomy of a Review: Karen Bernard's LAKESIDE
Event: Salon: Karen Bernard's LAKESIDE
Date: February 06, 2020 8:00 PM
Douglas Dunn's Studio
541 Broadway
New York, NY 10012
My friend and I share our guilty secret: we prefer narrative forms of dance and performance art, where there is a message or a plot line. It's akin to admitting you mostly like representational art when you're coming back from a show of abstract oil paintings. It tends to brand one as less sophisticated.
I find that the lack of a defined meaning creates a challenge for someone seeking to do a review. One could restrict one's self to how the performer moved, their talent and grace on stage. But that dismisses the performance itself as exercise. The problem is that my mind wants the piece to be "about something" and so it seizes on a message, a "something" that may originate entirely in my own head, making any review more about me and what I made out of this Rorschach choreography than about the performance that anyone else may have seen.
Hence the title "Anatomy of a Review".
I bring with me to the audience member seat a pair of tools, if you will, my main everyday obsessions: feminist theory and gender theory. When the only tool you own is a hammer, everything looks like a nail, they say. Well, here's what I saw:
A garment is in view in front of a kneeling performer (K. Bernard) under a tightly focused light. She and it. She stays that way for a prolonged duration, and doesn't react. Then very very slowly extends her hand, until the elbow is completely straightened, the arm as distant from the core of her body as she can make it, before she slowly pinches the fabric between fingertips and with agonizing slowness lifts it towards her.
Do I see a facial expression, or am I imagining it? I interpret something repellent, a displeasure, that makes the slow approach shot through with reluctance.
The outfit turns out to be a skirt and blouse. I see: gendered clothing. It has pastel colors, lacy ruffles, and once she (slowly) dons it, I see it is cut in a style that draws visual attention to legs and breasts, curve of torso, neck, and arms.
Once she's finally in the thing, she strikes poses and begins to move in it. I see: mockery, revulsion. I see: mincing and prancing, acting out in overstated compliance that which is expected of her. I see: resistance to femininization, trivialization, sexual fetishism and objectification. Her costume is a garment that renders one as an object for others' visual consumption, and it's not designed primarily for the wearer's convenience and comfort. These aren't, I think, interpretations that the clothing in and of itself would conjure for me, but by her body language as she interacted with it.
Due to my gender identity activities, I'm quick to attach the extreme reluctance and disgust that I see to the act of being misgendered. An expression not so much of resentment towards the costume per se as towards the package of feelings and attitudes towards anyone who would wear it, a rejection of femme. "Yes, that's it", I nod affirmatively in my seat. I imagine the cartoon thought-balloons over her head: "I don't want to wear this girly-girl thing, this so is not me. I'm supposed to be in this and prance around like this and pretend I'm eye candy and shit. Fuck this, gimme a goddam suit and a tie and a fedora, willya?"
The piece was presented without program notes, and was not followed by one of those "talkbacks" where the audience or a panel of people discuss the piece and what they got out of it, so we made our exit with only each other to consult.
We agreed that the dancing, the timing, the expressiveness were superb. She creates suspense and delivers an almost nerve-wracking intensity at times in her performance.
Had I seen anything that the artist had intended? Had the things that I did see reside at all in the performance piece, or strictly within my head as a gender-variant person and a feminist theory junkie?
"I saw an earlier version", my companion told me. "There were things she took out. I always thought it was about a murder. But that could have just been me, that's what I thought the piece was about, and she took out the parts that made me think so, so who knows?
Now to be fair, we do that to everyday life. The events of the real world aren't written with a plot, a clear storyline. We weren't handed a program explaining what the life we're about to experience is supposed to be about.
(Or, for those of us who were, we came to doubt the authority of the ushers who handed it to us). Some of us embraced a viewpoint, a political social theory about what's going on in life. We have come to use concepts of gender and identity and narrow confining gender-boxes that people are imprisoned in and struggle with. We embraced the concepts because they explained a lot to us, they clicked into place inside our heads and caused a lot of what we saw on the stage called World to make sense to us.
I believe in theory. I believe in the process of analyzing things. For the record, I don't think it leads to seeing things that your theoretical model say are there when it really all comes from you, the person observing life, inventing meaning where none actually exists. We share these analyses as communities of people who believe these explanations fit well, that they make sense of life. If they didn't offer us much explanatory power, it wouldn't be very satisfying to use them and we'd switch to one that did.
But I do think a lot of it is involves filling in a lot of everyday blank spots with what our theory says is going on. We see a behavior and without access to the thoughts in the behaving person's head, we make assumptions about their attitudes and intentions.
Being self-aware means reminding ourselves occasionally that we do that.
-------
You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!
My book has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.
Links to published reviews and comments are listed on my Home Page
-------
This LiveJournal blog is echoed on DreamWidth, WordPress, and Blogger. Please friend/link me from any of those environments on which you have an account.
--------
Index of all Blog Posts
comments at Dreamwidth -- https://ahunter3.dreamwidth.org/62642.html#comments
Date: February 06, 2020 8:00 PM
Douglas Dunn's Studio
541 Broadway
New York, NY 10012
My friend and I share our guilty secret: we prefer narrative forms of dance and performance art, where there is a message or a plot line. It's akin to admitting you mostly like representational art when you're coming back from a show of abstract oil paintings. It tends to brand one as less sophisticated.
I find that the lack of a defined meaning creates a challenge for someone seeking to do a review. One could restrict one's self to how the performer moved, their talent and grace on stage. But that dismisses the performance itself as exercise. The problem is that my mind wants the piece to be "about something" and so it seizes on a message, a "something" that may originate entirely in my own head, making any review more about me and what I made out of this Rorschach choreography than about the performance that anyone else may have seen.
Hence the title "Anatomy of a Review".
I bring with me to the audience member seat a pair of tools, if you will, my main everyday obsessions: feminist theory and gender theory. When the only tool you own is a hammer, everything looks like a nail, they say. Well, here's what I saw:
A garment is in view in front of a kneeling performer (K. Bernard) under a tightly focused light. She and it. She stays that way for a prolonged duration, and doesn't react. Then very very slowly extends her hand, until the elbow is completely straightened, the arm as distant from the core of her body as she can make it, before she slowly pinches the fabric between fingertips and with agonizing slowness lifts it towards her.
Do I see a facial expression, or am I imagining it? I interpret something repellent, a displeasure, that makes the slow approach shot through with reluctance.
The outfit turns out to be a skirt and blouse. I see: gendered clothing. It has pastel colors, lacy ruffles, and once she (slowly) dons it, I see it is cut in a style that draws visual attention to legs and breasts, curve of torso, neck, and arms.
Once she's finally in the thing, she strikes poses and begins to move in it. I see: mockery, revulsion. I see: mincing and prancing, acting out in overstated compliance that which is expected of her. I see: resistance to femininization, trivialization, sexual fetishism and objectification. Her costume is a garment that renders one as an object for others' visual consumption, and it's not designed primarily for the wearer's convenience and comfort. These aren't, I think, interpretations that the clothing in and of itself would conjure for me, but by her body language as she interacted with it.
Due to my gender identity activities, I'm quick to attach the extreme reluctance and disgust that I see to the act of being misgendered. An expression not so much of resentment towards the costume per se as towards the package of feelings and attitudes towards anyone who would wear it, a rejection of femme. "Yes, that's it", I nod affirmatively in my seat. I imagine the cartoon thought-balloons over her head: "I don't want to wear this girly-girl thing, this so is not me. I'm supposed to be in this and prance around like this and pretend I'm eye candy and shit. Fuck this, gimme a goddam suit and a tie and a fedora, willya?"
The piece was presented without program notes, and was not followed by one of those "talkbacks" where the audience or a panel of people discuss the piece and what they got out of it, so we made our exit with only each other to consult.
We agreed that the dancing, the timing, the expressiveness were superb. She creates suspense and delivers an almost nerve-wracking intensity at times in her performance.
Had I seen anything that the artist had intended? Had the things that I did see reside at all in the performance piece, or strictly within my head as a gender-variant person and a feminist theory junkie?
"I saw an earlier version", my companion told me. "There were things she took out. I always thought it was about a murder. But that could have just been me, that's what I thought the piece was about, and she took out the parts that made me think so, so who knows?
Now to be fair, we do that to everyday life. The events of the real world aren't written with a plot, a clear storyline. We weren't handed a program explaining what the life we're about to experience is supposed to be about.
(Or, for those of us who were, we came to doubt the authority of the ushers who handed it to us). Some of us embraced a viewpoint, a political social theory about what's going on in life. We have come to use concepts of gender and identity and narrow confining gender-boxes that people are imprisoned in and struggle with. We embraced the concepts because they explained a lot to us, they clicked into place inside our heads and caused a lot of what we saw on the stage called World to make sense to us.
I believe in theory. I believe in the process of analyzing things. For the record, I don't think it leads to seeing things that your theoretical model say are there when it really all comes from you, the person observing life, inventing meaning where none actually exists. We share these analyses as communities of people who believe these explanations fit well, that they make sense of life. If they didn't offer us much explanatory power, it wouldn't be very satisfying to use them and we'd switch to one that did.
But I do think a lot of it is involves filling in a lot of everyday blank spots with what our theory says is going on. We see a behavior and without access to the thoughts in the behaving person's head, we make assumptions about their attitudes and intentions.
Being self-aware means reminding ourselves occasionally that we do that.
-------
You're secluded in quarantine, and all the performances and events have been cancelled, so it's a good time to read a book!
My book has been published by Sunstone Press. It is available on Amazon and Barnes & Noble in paperback and ebook, and as ebook only from Apple, Kobo, and directly from Sunstone Press themselves.
Links to published reviews and comments are listed on my Home Page
-------
This LiveJournal blog is echoed on DreamWidth, WordPress, and Blogger. Please friend/link me from any of those environments on which you have an account.
--------
Index of all Blog Posts
comments at Dreamwidth -- https://ahunter3.dreamwidth.org/62642.html#comments