To spark discussion, the Walker invites Twin Cities artists and critics to write overnight reviews of our performances. The ongoingRe:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, choreographer Syniva Whitney and actor Will Courtney of Gender Tender share their perspective on Daniel Fish. Agree or disagree? Feel free to share your thoughts in comments!
The stage was filled with bright yellowish green tennis balls. As we entered the theater the multitude of orbs were ordered in a grid-like manner across the entire stage; tennis balls created a weird modular snow drift upstage. A loud machine to the far left served even more tennis balls that continuously ricocheted off of a poster taped haphazardly against the exposed back wall of the theater. This was the first image of a person present. Not an image of Wallace himself but of a white blond tennis player I didn’t recognize caught in the midst of returning a ball, hair flying out behind them, racket in hand ready to go. As the performers entered the machine was turned off and we lost it’s rhythmic puffing. They entered casually as though arriving for a weekly tennis lesson. Two people were mixing the audio recordings of Wallace’s voice right there out in the open as well. They faced center and were seated on black meditation cushions at a small sound board table to the far right.
The ghost of the author’s voice was present. In the beginning we could hear a bit of what I assumed to be Wallace’s voice (noticeable but not understandable) coming out of the ear pieces from the mound of headphones lying on the floor center stage. As the performers put them on his voice left the space and we were suddenly in the loud silence of watching them listen. They began to give this simple act of listening a presence and then a voice. They began to speak aloud interpretations of the words of a literary artist I’ve just discovered decided to commit suicide after a lifetime of struggling with depression. A meandering anxiety ensued in layered voices and singular voices, voices dropping in and out, voices occasionally repeating text over and over again, sometimes in unison, sometimes monologuing excerpts from his writing with the feeling of a deadpan Shakespearean aside in a casually choreographed, possibly improvised, muffled and ridiculous shifting field of felted rubber balls. Simple lighting changes cued reconfigurations of people, action and text. At a halfway point in the action the performers took a generous amount of time rounding up the pool of balls that had been taking up most of the stage using their shoveling arms, throwing hands, an actual broom and a lot of picking up and sending them all to the back wall. The result was the creation of an even more menacing drift of accumulated mass produced fluorescence. This simple, wave-like action transformed the space gently, anxiously and without fanfare, without voice.
We rushed home buzzing after Thursday night’s performance of Daniel Fish’s A (radically condensed and expanded) Supposedly Fun Thing I’ll Never Do Again After David Foster Wallace. Inspired by what we saw Will and I traded a few questions we came up with in reaction to the work. This is our exercise in giving each other a bit of our voice, our style…a bit of textual material for another body to interpret. Instead of redelivering the text as the performers did we will respond to the other person’s questions. We will then chose one word (THE WORD IN ALL CAPS) from our response and share only that word with the original question writer who will then write a poetic and non-traditionally formatted footnote in response to the singular word. Extensive and tangential footnotes were a trademark of Wallace’s. We admit we’ve never read any of his books.
WILL: Where was the physicality of the performers movement coming from?
SYNIVA: Sometimes I felt like the movements were devices they’d come up with to remember the structure of certain pieces they’d heard many times before. Similar to the way a spoken word artist uses their arm movements and vocal pauses to create rhythmic interest for the listener and to memorize poetry. I also thought the movements could be the unthinking result of only focusing on speaking the text rapidly and fidgeting with the considerable pressure to get it right and make it clear.
W: FIDGETING: Can also be referred to as shuffling, twitching or jiggling. May lead to such physical activities as “bouncy knee”, “slide foot”, “air grabs” and excessive blinking.
S: How can something be expanded and condensed at the same time?
W: Signals are required. The pressure must be increased. Flattening occurs. Stuff spreads out. It’s bigger on the inside.
S: STUFF: See The Story of Stuff, a documentary film I’ve been told is great but have never taken the time to view. You might want to. Consider sitting in the middle of your living room and taking a mental survey of all of your stuff. Start with with the things you can’t see, like the stuff under your bed or the contents of the junk drawer in your kitchen. Begin to italicize in your mind the stuff you’d be sad to lose in a fire. Also consider things and junk.
W: Is that Steffi Graf?
S: No I think it’s Tracy Austin, the tennis player from a Wallace text we heard delivered in the performance. I take it from all the tennis talk and from the set design David Foster Wallace was a big tennis fan. I’ve never heard of her (Austin) but I loved the quip that Wallace thought tennis was more abstract than boxing…that it was combat at a huge, geometrically pleasing distance.
W: ABSTRACT: A bunch of different colored cubes. Or it could be a bird. Or feelings.
W: Will someone get hit with a tennis ball?
S: Yes and no.The possibility of tripping and falling hung over the action as the performers rushed across stage, sat on tennis balls, and generally seemed to be dealing with the objects under their feet and their unknowable rolly-ness. At one point a performer did about a thousand jumping jacks while delivering Wallace’s text about all the privileged people in a men’s restroom and lists of possible bathroom related bodily functions. I was afraid they’d trip over the headphone connector box center stage and sprain their ankle.
W: JUMPING JACKS: There are over 47 varieties of Jumping Jack. Do you want all of the dates? The record for consecutive jumping jacks in a row is 27,000 (citation needed).
S: When does the story become the character?
W: The exact moment the eyes blur and look up. And in. I’m looking right at you but I’m also at the pool, in the bathroom or at the game. The stage ripples. An optical illusion made by a grid of soft round shapes.
S: BLUR: Blur is an English rock band, formed 1988, London. Blur is a band I thought I liked when I thought Jell-O shots were a good idea. The feeling of failing at focusing.
A (radically condensed and expanded) Supposedly Fun Thing I’ll Never Do Again After David Foster Wallace by Daniel Fish continues in the Walker’s McGuire Theater Friday – Saturday, January 15-16, 2016 at 8pm.
The Walker will also present a free film screening of Daniel Fish’s Eternal on Saturday, January 16 at 1pm in the Walker Cinema.