Category: Cultural Terrorists

Artistic Statement

Lacey Cole / / Cultural Terrorists, Development

While it seems we have moved away from our original first ideas, there are still some components we have previously considered that will be included. Instead of performing in the Collection, we have chosen a room upstairs in the Usher Gallery. We still want to connect the history of the site with modern elements found elsewhere, but have chosen to focus less on Lincoln and rather on our own history and roots. With that in mind, we have drafted an artistic statement relating to our new idea.

“It is our intention to smuggle our personal culture into a historical city, in order to juxtapose our ‘otherness’ with the narrative of the site. In order to do this, we plan on creating a sculptural model of Big Ben to signify our personal history. Within this cultural context, we also hope to include sound and costume that will strengthen our aim. By moving certain elements of London into such a cultural space, we hope the audience will be encouraged to explore their own history within an incongruous site.”

Elements to Consider

  • What sort of soundscape shall we use?
  • What sort of costume? Shall this relate to our personal culture or the Gallery?
  • How can we signify London clearly?
  • How long do we want our performance to be?

 

Author: Lacey Cole

First Ideas

Lacey Cole / / Cultural Terrorists, Research, Space

Having looked around the space and had a chance to feel comfortable in both buildings, we have had some time to think of possible ideas for our performance. Interestingly, Susan Bennett’s book Theatre and Museums focuses on the link between acting and where a piece is staged, for example a museum. Being that we have a chance to perform in The Collection Museum, I found it interesting to note that ‘museums traffic mostly in material designated as representing the past, while theatrical performance takes place resolutely in the present’ (Bennett 2012, p.5). Obvious as this may be, this confronts the idea of our performance being ‘site’ specific, and whether this means we need to focus on the history of the building. Is it instead possible to make a modern element the main feature of our performance and simply touch on the history of the building? In this way, we will still have free theatrical reign and our ideas may be able to flow more freely.

Whilst considering this, we have also spent time in both buildings and so far have been more drawn to a corner of the Collection with a large window that looks out onto some modern glass offices. This may be another way of connecting historical and modern elements of Lincoln within our performance piece, as there is a large sign in that area discussing the development of Lincoln from fields to concrete. According to this sign, ‘2000 years ago it was woodland’, and ‘100 years ago there was red brick’. Therefore we must consider the changes the site has gone through to become the Usher Gallery and the Collection Museum. By connecting these elements we may be able to delve deeper in the details of the site, whilst getting our audience to consider a future building that may stand in place of the Collection, as the Collection stands where fields once were. Whilst we consider history, we must also consider the future.

collection

Pottery in The Collection Museum

References: Bennett, Susan (2012) Theatre and Museums, London: Palgrave Macmillan.

Author: Lacey Cole.