Site Specific Performance; it seems self explanatory if you break it down into three separate words and look at their definitions. However, a deeper meaning to these words is required to truly understand the concept and purpose of Site Specific Performance.
What is ‘site’? – According to Nick Kaye ‘The site, it follows, is not available as an ‘object’, for it is not static, the site is mobile, always in a process of appearance or disappearance’ (Kaye, 2000, p96). In other words ‘site’ is always in action and has action in it. Another way of looking at it is that ‘site’ is a combination of space and place, an event and is on going; changing, evolving.
This leads me to the difference between ‘space’ and ‘place’. If we look at Peter Brook’s book The Empty Space, he said that “I can take any empty space and call it a bare stage’ (Brook, 2008, p11). This is precisely what ‘space’ is; empty, neutral, undefined. Its function is to be occupied. ‘Place’ on the other hand, suggests history, society and significance.
‘The notion of place has traditionally been understood ‘externally’ as a geographic, anthropologic, economic or political site, as opposed to ‘internally’ as a disembodied space in terms of psychoanalysis, memory or philosophy’ (Rugg, and Sedgwick, 2007, p48).
What is ‘specific’?
In this case of ‘site- specific’, it means that the artists involved draw upon something connected to the site and respond to it. That ‘specific’ is collaborated and inspired by the site.
What is ‘performance’?
Performance as opposed to theatre and drama is unlimited, it can take any form. It involves awareness and the conscious becomes performative. So why is performance different to Theatre? A simple answer to this question is that there is no set form with performance. It allows us to explore and experiment without limitations where as theatre has limits. Site specific performance is a dialogue between the site and the artist/performer which enables us to use not only the visual but also the people in that site. It also allows performers to intervene in life through the changing nature of society and reach a broader audience.
So, overall, Site Specific Performance is a performance inspired by something in particular at a particular site. Why? It has become a contemporary practice ‘which put creative and often critical work in unusual sites in order to ask questions about these sites and the ways people behave in them’ (Allain, and Harvie, 2006, p149). It also ‘offers spectators new perspectives upon a particular site or set of sites’ (Govan, Nicholson and Normington, 2007, p121).
To begin our journey on this module we have looked at some inspiring Site Specific work. For example Stephen Koplowitz and TaskForce UK have completed many projects in different sites around the UK. In particular this piece ‘Liquid Landscapes’ (2009) below:
With inspirational pieces of work such as this, we will focus on the development and experimentation for our final performances.
Works Cited:
Allain, Paul and Jen, Harvie (2006) The Routledge Companion to Theatre and Performance, London: Routledge.
Brook, Peter (2008) The Empty Space, London: Penguin.
Govan, Emma, Helen Nicholson and Katie Normington (2007) Making a Performance: Devising Histories and Contemporary Practices, London: Routledge.
Kaye, Nick (2000) Site Specific Art: Performance, Place and Documentation, London: Routledge.
Rugg, Judith and Michele Sedgwick (ed.) (2007) Issues in Curating Contemporary Art and Performance, Bristol: Intellect Books.
DartingtonTV, 2009, Stephen Kopolowitz: TaskForce UK Chapter 6 (Site specific Dance) Available at: http://www.youtube.com/watch?v=cwiPzI-OQUA [Accessed on: 21st January 2013]
