If your name is a sound, what does it move like?
On Saturday April 6, fourteen people gathered in the Walker’s Barnes conference room for the first of four days working on radical political theatre practices in preparation for a performance piece applying working methods of Augusto Boal to Bertolt’s Brecht’s 1929 learning play The Exception and the Rule. The impetus for this gathering–a process of workshopping, translating, and performing–is a key element of Karen Mirza and Brad Butler’s exhibition The Museum of Non Participation: The New Deal.
Led by the artists, the workshops immediately established a space where institutional roles of curator/artist/producer/participant collapsed. From the onset it was clear that we would all participate equally in the activities to come. And the roles we each play daily– labor lawyer, father, educator, student, playwright, activist–would simultaneously materialize and dematerialize. During our time together, we would confront the fundamentals of where we stand and act in the world–politically, socially, morally–exploring our mutable positions (and positionalities) through movement and voice.
But first, we have to introduce ourselves. We each do this through performing our names– crossing a circle we’ve formed as a group, moving towards another participant, and enacting ourselves through sound and movement. A trilled erre, hurried consonants, languid strolls, skips, hops, leaps. Characters begin to form and morph within the span of a few paces. This sets the tone for the days to come– rich with movement, reflection, and rigor enacted through Boal’s games.
Brad and Karen led us through a rich and complex succession of games. Following is a taste of a few.
Hypnosis a game of trust. It’s also a game of power. One person holds out their hand and the other keeps their face within four inches of it. The person with their hand out leads, the other follows, and then they switch. There are two rules. Both people must be silent and need to maintain four inches between the face and hand.
If you were to float above us during this exercise, you would see pairs of people respectively running, crawling, walking at snail’s pace. Some of the leaders did so gently. Others were more aggressive. Some pairs moved meditatively, like tai chi. Others moved acrobatically.
There were three progressions of this exercise:
First–One leads, one follows. Invert.
Second—Neither leads, neither follows. How do you move with mutuality?
Third: Both resist. How do you move?
We paused every so often to scan the room to see what positions bodies had found themselves, and to digest each as positions of power.
The game called up questions of parity, mutuality, leadership, internal conflict, and the ease and difficulty of trust. We formed a collective body– one that made clear the ways in which the position of being a leader or follower, are inherently precarious.
We stood in a circle, turned outwards and closed our eyes. We were told a word and instructed to illustrate it with our bodies. Some of these words–like silence, trust, merchant, and coolie– came directly from the group’s response to the play. We made these images silently, first for ourselves and then for the group.
We then turned into the circle and presented our body images as body memories. With some of these, we were asked to hold our position and gravitate to others in the room with whom we felt some affinity. We clustered in groups that became tableaus and were told to freeze in place. Group by group we showed each other our tableaus. Our fellow players were asked to describe what they saw in the happenstance scene, to tease out the hierarchies of power between bodies and gestures.
This is a just a brief fragment of how we worked, building a collective consciousness and a shared vocabulary that was at once physical, emotional and verbal– bringing the body to bear in the production of knowledge. During the performance due to take place tonight at 7pm, the audience will witness the slippage between Boal’s practice, Brecht’s narrative and the life experiences of the players. The event will be improvisational and open to contributions from its audience. This framework invites consideration of the subtleties of power, not only of the play’s characters, but of the players and the audience in the space. In this way, this moment serves to open the discursive space embedded in the exhibition itself. In place of being a finite performance, it serves as a rehearsal for how viewers might engage in the Museum of Non Participation throughout its Walker debut.