Category — Live Performance
Friday, May 20, 2011 | 8pm – 10pm | Doors at 7:30 | $10 |
Not Recommended for Young Children
Bent Theatre’s Alternative Comedy Experience
An alternative rock improv performance. A mix of the familiarity of “Whose Line is it Anyway?”, the best of the New York underground stand-up scene and the sketch comedy stylings of Second City. Music, Comedy, Art, Dance, and Life merge for a night of truly spectacular improv. Classic Bent Theatre games and performers merge with the new in this fantastic comedy experience. This is not your usual Bent Theatre show….this is unique.
April 12, 2011 Comments Off
Sunday, April 10, 2011 | 8pm
A free, cozy screening of Devon Sproule’s DVD “Live in London” for friends, family & fans. This DVD features the guitar playing and singing of Paul Curreri and the screening will be followed by short live sets of new material from both Paul and Devon.
This film was made by Anti|Type Films, a group of talented young filmmakers from Coventry, UK. From the Anti|Type website:
“Devon Sproule’s new offering, Live In London, is released today.
The 2-disc set includes a live-DVD-cum-tour-documentary, produced by Anti/Type. The images it captures are so striking that they could very well enter the general iconography, and the editing is Academy Award worthy, if we do say so ourselves. It also features a man eating peanuts from his bellybutton. Oh, and the album ain’t half bad either. But don’t take our word for it, check the blurb:
‘Live in London, the 28-year-old’s first live record, includes a 10-song CD and 8-song DVD: 18 performances that showcase Sproule’s equally powerful and nuanced style. “Sproule’s songs ooze the atmosphere of balmy Virginia days,” wrote The Observer. “She grew up in a commune in the state – and her sunny outlook is infectious.” Scattered between songs on the DVD are video clips of Devon and the band in their tour van, backstage dancing, drinking, ribbing, & lamenting petrol put in a diesel tank.’
Silliness aside, we are very proud and excited to be a part of this project, and very much hope that you enjoy listening to and watching Live In London as much as we’ve all enjoyed putting it together.”
April 6, 2011 Comments Off
Saturday, April 23, 2011 | Workshop 10:30am | Performance 8pm | $5
The Bridge is incredibly excited to present a workshop and performance by Alison Knowles. Knowles, a founding member of Fluxus, will lead workshop participants in the performance of her text scores. The evening performance will feature Knowles, workshop participants, and performance artist Meghan Della Crosse. The evening will conclude with a screening of Shorelines, a video documenting a beach performance in San Diego featuring cellist Charles Curtis.
The workshop will take place at the Bridge at 10:30 am on the 23rd. To sign up for the workshop email jonathan (dot) zorn at gmail (dot) com. The workshop is limited to 10 participants.
Alison Knowles Bio
Alison Knowles was born in New York City in 1933. She is a visual artist known for her soundworks, installations, performances, publications and association with Fluxus, the experimental avant-garde group formally founded in 1962.
Formal and Informal Education: After briefly attending Middlebury College, Knowles studied with Joseph Albers and Richard Lindner and graduated from Pratt University in 1954. With John Cage and Dick Higgins, she joined the New York Mycological Society, frequently hunting for wild mushrooms around New York City from the late 1950s-60s. During this time a close and fertile exchange of affection, food and ideas developed between Knowles and Cage. Also significant, if informal, in 1968 Knowles designed and screen printed the last known edition with Marcel Duchamp, a reprint of his Couers Volants for the Something Else Press.
Book Objects: As a founding member of Fluxus, Knowles produced what may be the earliest book object, a can of texts and beans called the Bean Rolls, in 1963. In 1967, Knowles produced The House of Dust poem, possibly the first computerized poem, which she produced with composer James Tenney following his informal seminar on computers in the arts held at her home with husband Dick Higgins in 1967. In addition to many performances based on the House of Dust, one quatrain of Knowless House of Dust poem was built as the House of Dust public sculpture; “a House of Dust ion open ground lit by natural light , inhabited by friends and enemies.” This quatrain-sculpture and would move from a ILGWU housing project in New York City, where it was arsoned in 1968, to the new Cal Arts Campus in Burbank California in 1970, where she taught briefly. A sound installation for the House of Dust sculpture was produced by Max Neuhaus.
In 1967, she expanded the scale of her book projects with the Big Book, an eight foot tall book of environments organized around a spine. This book opened at the Frankfurter Buchmesse and continued touring through Europe. After the first Big Book was destroyed, Knowles produced a second large-scale book, The Book of Bean in 1982 with the help of Franklin Furnace. Some pages of this book can be found at Museo Bostell in Estramadura, Spain. This was followed by a smaller book of tactile languages called A Finger Book of Ancient Language in 1985 that has seven eleven inch high pages all in braille and was shown at the Lighthouse for the Blind in New York. Three examples of this books were made and exists in private collections. Knowles has also produced aand written several books of experimental text and poetry.
Loose Page Sculptures: Beginning with the Bean Rolls, the Big Book and the House of Dust, Knowles has engaged in thirty years of experimentation on the sculptural potential of the book. One part of the book, the page, has engaged her since 1982. Loose Pages (1983), originally produced in collaboration with master paper maker Coco Gordon, consisted of pages made for each part of the body, the human spine taking the place of the standard books. In other page sculptures, the visitor stands in the page, physically entering it with one or another body part. Mahogany Arm Rest (1989), and We Have no Bread (No Hai Pan) (1992), invite the viewer to engage directly with their four and five meter page formats respectively. Since 2000, Knowles has been producing sounding objects, most recently Bean Turners, using beans and paper which are both pages and instruments.
Events and Performances: Events are a minimal form of performance score invented by George Brecht in John Cages historic class in Experimental Composition at the New School for Social Research in New York in 1958. Many Fluxus performances take this reduced means of performance, which is often a deceptively simple instruction. For example, Knowles much discussed The Identical Lunch (1969) is a score based on her habit of eating the same food at the same time each day “a tunafish sandwich on wheat toast, with lettuce and butter, no mayo and a cup of soup or a glass of buttermilk.” This meditation on the everyday was also explored in a book by her friend, composer Philip Corner, who originally suggested to her that this habit might be scored as an event. Other often performed Events by Knowles include Make a Salad (1962) most recently performed at the Baltimore Museum of Art “Work Ethic” exhibition and The Wexner Center (2004) and Shoes of Your Choice (1963) which invites the audience to talk about their shoes and to tell the stories they evoke. Knowles has produced more complex performances that often involve the use of ubiquitous objects such as beans, which evoke a world culture of sustanace, and shoes, a nearly universal clothing item. These performances utilize the Cagean compositional devises of indeterminate performance and chance operations and include The Bean Garden (1976), The Shoemakers Assistant (1977), Paper Weather (1986), and Loose Pages (1986-present).
Sound: Distinct from her Events and live performances, Knowles has been active in sound since the late 1960s. In 1968 Knowles designed and co-edited John Cage’s Notations a book of visual music scores for the Something Else Press. The book and exhibition with performances will occur at the Museum of Modern Art in Frankfurt, Germany (2005). Her Bean Garden (1971), consisted of a large amplified platform covered with beans that were sounded underfoot by visitors to Charlotte Moormans Annual New York Festival of the Avant-Garde. In addition to many other radio broadcast performances, Knowless interest in the effects of resonant sounds produced by beans and hard surfaces was explored extensively in a series of four radio programs hosted by the progressive German station West Deutscher Rundfunk, whose director, Klaus Schning was a friend and supporter of Cage’s work and the work of artists associated with him. In 1982, Knowles was awarded the prestigious Karl Sczuka Award for best radio work from WDR for her sound work Bohnen Sequenzen [Bean Sequences]. The last of these radio plays was based on a series of prints by Knowles. This last radio play was produced in collaboration with Joshua Selman and titled Bread and Water (1994).
Prints: In 1960, Knowles began producing silk screen paintings shown at the Judson Gallery. She changed direction as her interest in performance and objects developed. He joined the Fluxus group. From 1963 until the middle 1970s, print functioned for Knowles as an expression of other process-based concerns. In 1963, she collaborated with Cage students Robert Watts and George Brecht in the Scissor Brothers Warehouse show, normally called BLINK for the bold word that appears in the center. This eighteen inch square printed painting consisted of three images chosen at random, one by each artists. The image appeared on everything from canvas to bathing suits and hair brushes. These were sold for random prices at a special sale at the Rolf Nelson Gallery in Los Angeles. These works were not presented as art but rather as a flea market. She would collaborate again with Brecht on a book in 1983 on a publication called The Red, the Green, the Yellow the Black and the White (Brussels: Editions Lebeer, 1983). In 1973, Knowles produced the Identical Lunch Graphic, which showcased many of her friends and Fluxus colleagues consuming the Identical Lunch. The prints includes a Starkist logo, indicating corporate sponsorship, which was withdrawn when it was determined that she might be a spy from the competitor, Bumblebee! Beginning in 1978 Knowles published limited print runs of found and manipulated graphic materials with Italian publishers Francesco Conz and Editions Pari & Dispari, Rosanna Chiesi.
Recent experiments with light sensitive chemicals have produced photographic prints on paper and cloth, which are then manipulated by hand. The most sustained of these was the Bread and Water cycle of palladium prints and cyanotypes, which in turn generated a sound work and book. In these later works Bread has replaced beans as a universal form of sustenance and myth. In 2000, Knowles began casting flax paper to make musical instruments. The Bean Turner, Rattles, Wings and Drums use beans for sound with the aid of text, toys and silence.
Prizes: In additon to numerous teaching engagement and minor awards, Knowles has been acknowledged for her profound contributions to contemporary artistic practice in the form of a Guggenhaim Grant (1967), NEA Grants (1981 and 1985), a collaborative New York State Council on the Arts Grant (1989), a Dokumenta Professorship at the Kunstakademie Kassel, Germany (1998), the College Art Association Lifetime Achievement Award (2003), and Annonymous was a Woman Grant (2003).
April 5, 2011 Comments Off
Sunday, April 3, 2011 | 7pm | $5-$10
Check out the third installment of the Charlottesville Experimental Music Showcase featuring some of the noisiest, most out-there sounds in town. Among the bands you’ll hear:
March 21, 2011 Comments Off
Featuring Nathan Halverson, Jennie Neighbors, Erik DeLuca, Chelsea Hicks, Wade Matthews, Kevin Davis, and Jonathan Zorn
Saturday, April 2, 2011 | 7pm | $5
Nathan Halverson and Jennie Neighbors will perform “Sound Is What You Turn To / But They, Um,” a collaborative performance exploring the relationships among language, sound and torture in the U.S.’s “War on Terror.” This performance is a co-presentation with Sound-Unsound, a conference hosted by the UVA Graduate English Students Association.
A collaboration between sound artist/composer, Erik DeLuca, and
writer/poet, Chelsea Hicks, ONOMATOPOEIAS AND SONGS FOR WRANGELL-ST. ELIAS, ALASKA explores the otherwise invisible—or inaudible—realms of Wrangell-St. Elias, our nation’s largest national park. The 40-minute, four-movement suite will take place in an encompassing listening environment featuring multi-channel audio, live narrators and a band.
The final performance of the evening will be a set of improvisations featuring visiting artist Wade Matthews, an internationally recognized electroacoustic improvisor whose work explores the intersection of documentary field recordings and computer improvisation. Matthews will be joined by Charlottesville musicians Kevin Davis (cello), and Jonathan Zorn (electronics).
March 21, 2011 Comments Off
Sunday, March 27, 2011 | 7pm
Called ‘the most imaginative and fascinating musician in all of trad today’ by Earle Hitchner of the Irish Echo, Dublin-born Caoimhín Ó Raghallaigh plays traditional and contemporary folk music on fiddle, 5-string viola and hardanger fiddle in small intimate listening venues. His Kitty Lie Over album was described in the Irish Times as “a niftier mood enhancer than any drug therapy”.
He will be joined by the Virginia fiddler/improviser based in NYC, Cleek Schrey, viola da gamba player Loren Ludwig, and the percussive dancer Matt Olwell for a night of fiddle tunes, early music, and contemporary improvisations.
March 15, 2011 Comments Off
Thursday, March 31, 2011 | 7:30pm | $5
Come see master of suspense Alfred Hitchcock’s silent thriller, The Lodger, based on the infamous Jack the Ripper story. Fast-paced and atmospheric, this film is full of Hitchcock’s signature style and thematic interests, also revealing him to be a true student of both German Expressionism and Soviet montage styles. Local musician Matt Marshall will perform live keyboard accompaniment to the film in the traditional style.
March 8, 2011 Comments Off
Saturday, March 12, 2011 | Doors at 6pm | $5 | At THE HAVEN
Pieces created by members of our community created off of the theme “undressing” The night will be full of plays, dance, music, and video pieces from our community. Donations encouraged.
March 6, 2011 Comments Off
Thursday, February 17, 2011 | 6pm | at RANDOM ROW BOOKS
6pm: Potluck Dinner
Bring a Dish and Donate some dollars for this very special show.
This latest edition of Bread & Puppet Theater’s cabaret series features the Jolly Battle between Mountaintop Removal Protesters and Mountaintop Machinery, an ancient take on bananas, a President and a Chair and much more, all interspersed with commentary from Karl Marx. The Even Cheaper Accordion and String ensemble will provide soothing sounds for winter weary nerves.
A SHORT HISTORY OF BREAD & PUPPET THEATER
The Bread & Puppet Theater is one of the oldest non-profit, self-
supporting theatrical companies in the U.S. The theater has been enacting its radical utopian vision in cardboard and cloth for over forty years, from the spectacle of its larger-than-life puppets at Vietnam War protests in New York City to the pageantry of its long-running (over 25 years) annual event, “Our Domestic Resurrection Circus” in Glover, Vermont. The latter event regularly attracted audiences in the tens of thousands up to the late 1990’s. Author and NPR commentator Andrei Codrescu has praised “the genius of Peter Schumann [artistic director], the prodigious puppet-God,” writing “the Bread & Puppet Theater has been so long a part of America’s conscious struggle for our better
selves, that it has become, paradoxically, a fixture of our subconscious.”
Photo above by Jack Sumberg.
February 10, 2011 Comments Off
Saturday, February 12 2011 | 8-10pm
Come celebrate the launch of a new issue of Meridian, a semiannual literary journal produced at the University of Virginia. Come for music and food, stay to read—and even purchase—the newest compendium
of poetry, fiction and non-fiction creative writing. Meet the editors of Meridian: Hannah Holtzman, Lee Johnson and Wanling Su. Free and open to the public.
January 15, 2011 Comments Off