The Search for the Liveness 2021Performed at STUDIO course Graduation showcase 2021, Twitch tv/SleepersDreamers by Pieter Jan Ginckels and Snowlakes 2021,
and will return at the Sweat Festival in September 2021.
The Search for the Liveness invites audiences to witness two perspectives of reality, one in person and one that is projected. If a Tiktok girl decides to create a duality in what the audiences would see, how would the attention of the audiences split? My research into the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Is it something about the synchronicity of time, space and action that came into influence? The performance serves as an experiment, to test if the performativity of the dancer is enough to be able to connect to both perspectives while highlighting the advantage of live performance.
My research onto the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Or more so, what it is exactly about live performance art that attracts people to go to see shows in person compared to watching performances streamed online, where you could watch an event in the comfort of your own home and your anonymity is optional. There is a tension regarding the depth of experiences you could gain from the show, depending on the platform you attend to. The experience of inhouse audiences feels much more connected to the breath of the performance, and is more sensitive to the certain indescribable “(a)liveness”on stage.
In searching what specifically the liveness was, I understood that it is something about the synchronicity of time, space and action that came into influence. The liveness includes conditions of a group of people sharing a space for a certain amount of time together, witnessing an experience together. Through this way of perceiving the vitality of art, I wondered if these conditions ever came together or have been made aware of in virtual platforms such as Twitch and Tiktok.
As I skimmed through their videos, I noticed that they were directly looking into the camera and the movements consisted of front facing dances, addressing the camera. This made me question their intentional choices they make on their presentation and the unconscious choices that are also apparent. Are they aware of the perspectives outside of what they see in the camera? Are they intentionally performing for one crowd that lives in front of you and another in the virtual world (Clout)? Are they addressing the camera to create a “live” connection to the virtual audiences?
The Search for the Liveness was inspired by a Tiktok video of a girl, who sobs while performing a sexy dance, disassociated from her body and yet executing the dance meticulously and still with some sensuality.
The idea of disassociation between the body and the mind is fascinating especially when someone is dancing. Dancing, being a very physical task, the more complicated the sequence is, the more concentration is needed. Can dissociative performativity be a tool to play with when trying to create connection through screen and Audiences IRL(In real life)?
Concept & performance: Eimi Leggett
Mentor: Ula Sickle
Residency support: STUK - House for Dance, Image & Sound, Studio Zaman
Tiktok inspiration; @reesehardy7