Strangeness + Charm is a column for Exeunt, exploring the art of science and the science of art, and (hopefully) breaking down the idea that they are discrete and unrelated.
It is a collaboration between myself and Grace Elizabeth Harrison.
Durational performance. It’s quite a natural part of theatrical parlance, so much so that it’s often part of our humour, but I’m wondering how much we’ve sequestered the performative notion of it, and how it fits into a wider culture of individual feats of endurance that may be considered art.
The Art of Looking
We all do a strange thing. We don our finest (or rush out of work in jeans), we shuffle into black boxes and proscenium arch palaces and leaky rooms above pubs and we sit in the dark, clutching plastic cups of warm wine and we watch people. Real people. In the same living, breathing space as us. Convinced that we are all seeing the same thing from our anonymous cloak of darkness.
Despite our multifarious backgrounds as English speakers, it is generally accepted that there is a pronunciation standard for this veritable stew of a language – begged, borrowed, stolen and stitched together.
I’ve always really enjoyed moving house. By the time I was 5 years old, we’d lived in 5 different places, and instead of drawing on the walls, I was usually painting them.