SHEE-DADA — ritual for dislocated forces

performance + workshop + lecture

* 1 + 2 from the script | 3 body painting SHEE-DADA-names | 4—7 performance panels *

performance structure

Bath robe pulled over the head, the head fully covered, so that one can’t see space and people.
Three tables placed in different places in the space. Letting oneself be guided consequetivly by the audience to the three tables:
To table 1 with a furry teddy bear — putting the hand into the bear (he is hollow), moving his mouth from inside while talking to the audience.
To table 2 with a bunch of panels, distributing them to the audience or throwing them or holding them up into the air until somebody takes it.
Reciting from memory from the prepared subtext with informations about what it needs to do a ritual – this performance is a ritual —, information about the SHEE-DADAs (images and text fragments are on the panels).
To table 3 with a head of lettuce, plucking lettuce-leaves, giving half of the lettuce to someone, asking this person to also pluck leaves distributing them to everybody present, so done asking everybody to set the alarm clock of their mobile to 8 minutes, then putting their lettuce leaf on the table with their mobile/iPhone on top, now waiting together (it might be very quiet in the room), at irregular intervals, the alarm clock melodies of each mobile/iPhone starting to sound, expanding into a polyphonic alarm clock medley, this the sign for the performer to take off the bathrobe, underneath, the body markings with names a subjective SHEE-DADA history canon becoming visible.
Bob Dyland's Homesick Blues, memorized beforehand, then until being at one's wits'end or getting stuck.
All the tables carried into an empty room opposite or nearby, everybody moving from this room through the wide open door and through the passage into the other room (even if it's a much smaller room), here Lady Gaga's Venus song sung along by the i-Phone and the performer slightly changed as part of the subtext).

names of SHEE-DADAs written with ink directly on the body skin

content of subtext

The SHEE-DADAs are women who have been marginalized by the art canon in DADA history and only recently, in the course of the 100th DADA anniversary, have received some attention. SHEE-DADAs are also women from science and contemporary art, whom I include in my temporary subjective historiography and whose names I let out here and now. They stand for many others who have also been forgotten. There is no moral claim to complement art history, rather, the omissions offer an opportunity to take them on and link them anew into our time.

subtext for the performance, partly spoken, partly suppressed or omitted.

This performance is a ritual for disolcated forces
You are part of it , caught and hanged along or one is judged by the company she-he keeps
you can’t help it, you will be part of it
Whether this will be/become a real ritual
is depending on each single person in this room, hence the end of it is open.
it’s about provoking/evoking/invoking, it’s about a collage an assemblage, eine ‚blamage’, und Gage and also to get into a rage
Watch out this performance is seamed up like this bear and influenced by
it’s material borrowed and taken from a subtext, which is inspired, fired, dislocated and motivated
things and performances and texts, which I have seen, read and heard of and experienced

the protagonists of this ritual are

. YVONNE and YVONNE of two generations, both living in New York
namely
and
. YVONNE MEIER dancer and choreographer, from Switzerland, living in New York, reknowned for her witty and courageous groupe and solo performances with dance and material, lately her performance with her massive body and a fure coat and much more, realized during THE LONGEST DAY 2015 //
and
. YVONNE RAINER, pioneer of postmodern dance with her work in the 60es/70es in New York with Trio A, active member of Judson Dance Theatre, turned later to experimentel filmmaking
and
. Judson (Dance Theatre) stands for postmodern Dance, it’s not a stile, rather a movement, an inquiery, research into the media dance since the late 1960es
and
. ANNA HALPRIN pioneer of postmodern dance, who had influenced many young choreographers and artists in the 50es/60es and further on in her performance «Parade and Changes» 1965, the performers very slowly undressed and dressed again, which caused a scandal at the time
and
. CAROLEE SCHNEEMANN multimedia artist, is a singular artist in the scheme of the exprimental Judson Dance Theatre of the 1960es/70es. With her ‚kinetic theatre’ she created her own terminology for her performative approach, which she understood as expanded painting, involving all senses
and
. ELSA VON FREYTAG-LORINGHOVEN, her activities in 1914 are as follows depicted somewhere: modelling, designing extravagant costumes, painting, writing poems, starting with performances and establishing herself as DADA-Queen last but not least through eccentric self-representation
and
. MERET OPPENHEIM and the Oppenheim fountain in Berne, everybody knows Meret Oppenheim and the fure ... , don’t you?
and
. EPHRAIM MEISTER «First Contact with MxM@», seen at ACT student performance festival of the Art Universities in Switzerland in Basel 2015, where Ephraim Meister enteres ‚silently‘ in a writing dialogue with an artificial persona, determined by algorithms, his lucid presence surprises again and again
and
. Which brings me to AUGUSTA ADA KING, COUNTES OF LOVELACE, who lived in the 19th century, a victorian ‚Computer Wizard’, by a feminist view on history discovered as a pioneer of computer-technology
and
. EMMI HENNINGS co-fouder of Cabaret Voltaire in 1916 in Zurich, night-club-performer, writer, artist with many talents and activities and an antibourgeois perspective, which is called historically significant, because it provides another glimpse of the (difficult) reality of a femal artist and DADA protagonist. Hennings was a strong performer, in one performance she stood there dressed in a roll of cardboard, from head to foot, her face was a ghastly mask, the mouth open, the nose off to one side, the arms lengthened in thin cardboard rolls, with long stylized fingers. The only living part that could be see was her feet, naked, all be themselves at the bottom; it was so terse and impressive
and
. GABRIELLE BUFFET art-critic, writer with a background in music studies, married to Francis Picabia. She observed, participated, analyzed, and recorded what DADA did in Zurich, Paris, New York and Barcelona. Her essays provide refreshingly unprejudiced analyses of the period unlikly the male protagonists fighting for dominance
and
. CÉLINE ARNAULD, The confusion around the dates of her birth year and year of death is a symptom of a general disregard for accurate information about the noteworthy female DADA-protagonists. Antonin Artaud lauded her poetry ‚an explosion of blazing vigor’. Her refined poetry challenged Dada’s reputation as a purposely offensive antiart rebellion, represented primarily by a male-dominated group of avant-garde artists
and
. ANGELA HOERLE, german avantgarde painter, member of Cologne DADA, her drawings are very subtle and accurate. Personal experiences during the 1st Worldwar and experiences with ...... have politisized her artistic engagement
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. My recent performance was an encounter with LETTEN VENUS, a sculpture from the 1950es in a public bath place at the river Limmat in Zürich
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. These are all She-Dadas
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. My parents were born in the 1920es and didn’t know about and had nothing to do with these She-DADAs of their time
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. I am born in 1955 and didn’t know anything about theses She-Dadas of my time
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what we need and have to do for a ritual
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What we need for the ritual a commited and engagingly bearing otherwise it won’t function
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Please put the alarm on your I-phone on ….
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And please choose a sound from the menue for the alarm
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Now take a salad leafe
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And now please put all your I-phones/mobiles etc. on one of these tables. Thereafter please keep an eye on your I-phone, may be it will whisper something to you
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what we also need for a ritual
1 mantra: now and here Bob Dylan’s Homesick blues
1 song: now and here Lady Gaga, Venus

script overview ... script components ... action panels