By Roberta Mock
This assortment charts 3 initiatives through performers who generate autobiographical writing via strolling via inspirational landscapes. integrated within the publication are the whole texts of The Crab Walks and Crab Steps apart through Phil Smith, Mourning stroll by means of Carl Lavery, and Tree by way of Deirdre Heddon, every one followed via images and contextual essays. Taken jointly or individually, the paintings of all 3 artist-scholars increases very important matters approximately reminiscence, the ethics of autobiographical functionality, ritual, lifestyles writing, and site-specific functionality.
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Extra info for Walking, Writing and Performance: Autobiographical Texts by Deirdre Heddon, Carl Lavery and Phil Smith
Example text
Audiences do not simply attend the work of companies such as Wrights & Sites or Lone Twin because they want to construct imaginary types of dream architecture, building projects in the mind. 19 Consequently it is important to look elsewhere for alternative explanations, particularly so when it is a question of understanding pedestrian performances, like NVA’s The Path (2003) and The Old Man of Storr (2005), which are located in rural landscapes, and thus have little in common with Keiller’s urban-based model of psychogeography.
He’s open to the shock of things. When I walk, I go back and forth in an infinite journey between memory and imagination. Summer 1972 I’m sitting on the steps of a terraced house in Glencolyer Street, just off the Limestone Road in South Belfast. The ‘Troubles’ are all around me, all in me, but I don’t know that yet. My Mum’s in the kitchen with my new baby brother, Gareth. I’m waiting for my Dad to come home from work. I’m expectant – it’s his payday and he always brings me a comic. He arrives.
In the UK, the subjective transformation of landscape seems to offer the individual a way to oppose the poverty of everyday surroundings. 13 In Keiller’s provocative thesis, pedestrian performance (what he sarcastically refers to as the ‘UK’s psychogeography phenomenon’) is simultaneously an ingenious response to the poverty of urban living and a subjective attempt to withstand social and economic disempowerment. 14 Although he does not refer to performance practice per se, Keiller’s explanation for the current vogue in psychogeography is certainly applicable to the contemporary breed of performance makers in the United Kingdom who take the city as their stage.