High Fidelity: Study and Performance
12, 18 & 19 March 2016
Fidelity: Faith, uxoriousness, accuracy of representation, devotion, freedom from errors of transmission or transcription and accuracy of reproduction all fall within its scope.
Fidelity and its cousin High Fidelity (as an adjective) echo the early strivings of sound engineers to simulate sounds heard elsewhere—in the concert hall or on the radio.
Heard Elsewhere in portable sound, or the elsewhere of the imagined sound, or the elsewhere of the near distant past, or the elsewhere of delayed acoustics, or the elsewhere of the Unheimlich, the unhomed in Freud’s Germanic sense and also in the sense of those who go without shelter or who find themselves unable to feel at home, to accept the structures of the institutions ‘housing’ them.
12th March: Informal group study will take place (12:00 to 20:00) at Chisenhale Dance Space with interventions, offerings, and rehearsals for performances to take place on 18 and 19 March.
18 & 19th March: On the 18th High Fidelity will begin at 12:00 with a mini-symposium & performance event under the ample sign of Voicing Revolutions.
The 18th kicks off with a 2 hour BUTOH workshop with artist Vanessa Skantze. Information and ticketing for the workshop here.
A lecture/performance/intervention by Ann Pellegrini [Performance Anxieties: Staging Psychoanalysis, Staging Race]
Performances will follow from 16:00 to 20:00.
Saturday the 19th will run from 12:00 to 20:00.
Each day will end with wine and food and talk.
Vanessa Skantze [Butoh performer, Teatro dellla Psychomachia Seattle, WA] Emily Orley, Four Second Decay [Matthew Fink and P. A. Skantze], Alice Colquhon, Chris Heighes, Julio Velasco, Kelina Gotman, Penelope Woods, International Western [Joe Hales, Ella Finer, Robert Jack, Flora Pitrolo] Johanna Linsley and Justin Hunt.
Organised by Four Second Decay. Delivered at Chisenhale Dance Space through our Space Hire package.