the practice of absurd behaviour
T H E P R A C T I C E O F A B S U R D B E H AV I O U R I n th e Face of a Gl ob al Cr i si s
M A D D Y D AV I D S O N
CONTENTS 003 O ve r v ie w 005 017 027 043 055
Tra n s la t in g T h e Ab s u rd O b je c t s + E n co u n te r S ite Pro g ra m
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pretex t Human behaviour is absurd. When it comes to a crisis, we tend to try to ‘normalise’ a situation or it is so distant to us that we can’t connect with it at all. This project is not about a solution, it is an illustration of the human condition. It strikes a conversation and aims to go viral.
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Exploring ideas of the object and social media, The Practice of Absurd Behaviour translates a reaction into a humour-based program involving audience participation and reauthorship.
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translating versions rendering adaptation
“When you meet someone new, you don’t reserve a fresh look for his face, voice and features, but focus your attention only on the disparities you discern from an internal collation of the vast number of memories about human beings in your recollection.�
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Kenya Hara - Designing Design
VERSIONS project, week 3 [the metaverse, Neal Stephenson]
You are able to recognise a human being due to the information you’ve stored in your memory about human beings for your entire life. This is also how we can understand an object even if we’re not sure what the object is truly for. Analysing and identifying key features within the object and correlating this to our already culturally formed canister of knowledge - this is the way that we most naturally translate objects/ people/spaces and words. Humans are, after all, story tellers. We pass information - fiction or non-fiction - on to others, readapting, re-appropriating, redesigning, translating it for a different correlation of time, a different audience or a different method.
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The above project, undertaken with Isabel Holloway, is an act in translating for batch processing. By applying only one method - in the case a black sun to a circle of 50 houses - each house receives a different shadow, yet only one process is performed.
Is the Library really an immeasurable entity? Do you believe in the book of all books? Why? What divine right have the librarians and their exclusive clique to claim both the infiniteness of the library, and the finiteness of its literary contents? They say the rule is twenty-two letters, we say twenty-three! Are you tired of staring at bookcase after bookcase, scarcely existing in the bounds between identical hexagons that span as far as you can see? And why are we kept from the knowledge held inside the books - why are their titles gibberish with nonsense texts? We are kept in ignorance so that we may be manipulated and deceived - we are slaves!
Eternal Ështëbibliotekë argent réel ? Vous pensez du livre ? Quelle était la raison ? Technique , économique et galiausiaiDievo parašytasgeriausia Dypafundës droit des marchés publics et ne pouvons-nous apprendre ? Deux livres , 08h15 Serregull vingt heures ! Terre a l’air fatigué , et je suis dans le milieu du cube, vous devez aller , par exemple , ne peut pas aller au travail? Et ils dirent livres et des informations confidentielles cachés ? Classe - nous manipulons , tromper , il était pasakytatamsus
Ështëbibliotekë reales entitates infinitae ? Credis in volumine libri ? Quam ob causam? Et librarios Kjoe library divina ius mus felis et exclusive dypafundësi research occasiones litterarum material ? Et Serregulli viginti duarum litterarum, octo aut XV horas !
Ështëbibliotekë muhan jinjja silche ? dangsin-eun chaeg eul midseubnikka ? museun iyulo ? saseo mich doseogwan Kjoe sinseonghan mauseu oleunjjog beoteun gwa yeongu gihoeleul dogjeomjeog-eulo munhag jalyoleul dypafundësi ? Serregulli seumul du geulja , yeodeolb 15sigan !
Fessus es considerandi crusta vadis, ut ingrediar et ultra mediam hexagonis idem ?
dangsin-eun naega yuggaghyeong ui jung-gan gwa gateun il e deo isang gal su issdaneun geos-eul , dangsin-i gagoissneun seonban eulbogo pigon ?
Et quia in libris latent recondita notitia - quod interpretatur titulis lyrics inania? Diximus in tenebris, ut potest mutare lactes - servi !
Eternal Ështëbibliotekë rigtige penge ? Du tror af bogen ? Hvad var årsagen ? Tekniske, økonomiske og galiausiaiDievo parašytasgeriausia Dypafundës udbudsret og kan vi lære ? To bøger, 08:15 Serregull 20 timer ! Jorden ser træt , og jeg er midt i terningen , skal du gå , for eksempel, kan ikke gå på arbejde ? De sagde bøger og skjulte fortrolige oplysninger ? Klasse - vi manipulere , bedrage , han var pasakytatamsus
Eterno Ështëbibliotekë real? Alguén podería pensar que este libro ? Que olisyy ; Técnica , económica e galiausiaiDievo parašytasgeriausia Dypafundës lexislación sobre contratos públicos , e podemos aprender ? Dous libros , 08:15 Serregull dentro de 20 horas !
Ështëbibliotekë kekal sebenar ? Seseorang akan berfikir bahawa buku ini ? Yang olisyy ; Teknikal , ekonomi dan galiausiaiDievo parašytasgeriausia Dypafundës undangundang mengenai perolehan awam , dan kita boleh belajar ? Dua buah buku , 08:15 Serregull dalam masa 20 jam !
O sitio parece canso , e eu kesetkuubik , ten que ir , por exemplo , non pode ir para o traballo?
Laman web ini kelihatan letih , dan saya kesetkuubik , anda mesti pergi , sebagai contoh , tidak boleh bekerja ?
Eles dixeron que os libros e oculto dentro de información ? Categoría - manipular , enganar , foi pasakytatamsus
Mereka berkata buku dan tersembunyi di dalam maklumat ? Kategori - memanipulasi , menipu , adalah pasakytatamsu
geuligo geudeul-eun sumgyeojin jeongbo ui chaeg e sumgyeojyeo issgi ttaemun-e - gasa heosdoen il ui jemog eulo , inga? jong eul - dangsin-i jojaghago giman hal su issdolog ulineun eodum sog-eseo malhaessda !
Igavene Ështëbibliotekë päris raha ? Sa arvad, et selle raamatu ? Mis oli selle põhjuseks ? Tehnilised , majanduslikud ja galiausiaiDievo parašytasgeriausia Dypafundës hangete õiguse ja me saame õppida ? Kaks raamatut, 08:15 Serregull 20 tunni jooksul! Maa tundub väsinud, ja ma olen kesetkuubik , peate minema , näiteks ei saa tööle minna ? Nad ütlesid, raamatud ja peidetud konfidentsiaalset informatsiooni ? Class - me manipuleerida , petta , ta oli pasakytatamsus
Ështëbibliotekë khng pĕn cring? Hʼnʼʼng ca khid ẁā hʼnʼngsʼʼʼx lèm nīʼ ? Olisyy; thekhnikh ʼʼersʼʼʼʼhkic læa galiausiaiDievo parašytasgeriausia Dypafundës kʼhʼmāy keīʼyw kʼb kār læa reā sʼāmārtʼh reīyn rūʼ? Hʼnʼngsʼʼʼx sʼxng lèm, 08:15 Serregull pʼhāynı 20 chʼʼwmong! Wĕbsʼtʼ nīʼ ca dū hʼenʼʼʼxy læa cʼhʼn kesetkuubik khuʼ ca tʼxng pʼ yk tʼwxỳāng chèn mʼʼ sʼāmārtʼh thʼngān dʼʼ ? Phwk kʼheā klʼāw ẁā hʼnʼngsʼʼʼx læa kʼĥxmūl pʼhāynı thīʼ sʼxn xyūʼ ? Hʼmwd hʼmūʼ - bidbeʼʼxn hʼlxklwng pĕn pasakytatamsu
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translating text through text an original piece of text was circulated through 30 different languages to produce a new adaptation. Here are a few examples.
translating ideas to film
https: //vimeo.com/130313365
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https: //vimeo.com/130823470
using text as a primary source
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The pl a y, se t i n a provin c ial F renc h vill a ge, ce n t re s a ro u n d a dru nk and mis e ra b l e h um a n , Berenger. A ll aro u n d h im p e o p l e begin tu rning into Rhi n ocero se s, u n til by th e end, he is the o n l y h um a n l e f t.
RHINOCEROS EUGENE IONESCO (1959) THEMES T H E AT R E O F T H E ABSURD ANTI-NAZISM FA S C I S M HUMOUR
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In Rhinoceros, Ionesco is commenting on how easily it was for people to succumb to Nazism. Ionesco deemed his own work, an ‘anti-Nazi’ play. When a piece of propaganda begins to spin within humanity, as one person yields others soon follow, more so when authority also yields and people tend to justify the information and actions created from the propaganda with logic and reason, e.g. if a + b = c then it must be true, the search for understanding hinders the ability to see clearly. However, for those who accept the situation as it is, the illogical or irrational, than they are more likely to surpass the temptation of information that is forcibly feed to them.
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IN 1959 IONESCO L O O K E D AT N A Z I S M A N D FA C I S M TO C O N S T R U C T A P L AY I L L U S T R AT I N G T H E A B S U R D B E H AV I O U R OF HUMAN BEINGS.
translating the text for reauthorship
T O D AY ’ S C U R R E N T G L O B A L C R I S I S I S C L I M AT E CHANGE. IN DISECTING THE B E H AV I O U R S U R R O U N D I N G THIS ISSUE WE CAN SEE I N T E R E S T I N G PA R A L L E L S .
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THESE ARE LISTED IN THE NEXT CHAPTER. HOWEVER, A GENERAL O V E R V I E W C A N T E L L U S T H AT EVEN THOUGH THERE IS A 97% SCIENTIFIC CONSENSUS, HUMAN B E I N G S H AV E B E E N S L O W T O RE ACT TO THIS ISSUE AS A CRISIS.
melted everyday items
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translating Climate Change consequences
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melted iced / growing water
EXPERIMENT 2: CLIMATE CHANGE AFFECT: ICE SHEETS MELTING | DOCUMENTATION OF ICE CUBE MELTING 1:15 HRS
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the absurd in behaviour in the illogical
“ D U D A R D : W H O C A N S AY W H E R E T H E N O R M A L S T O P S + T H E A B N O R M A L B E G I N S ? C A N Y O U P E R S O N A L LY D E F I N E T H E S E CONCEPTIONS OF NORMALIT Y AND ABNORMALIT Y? NOBODY H A S S O L V E D T H I S P R O B L E M Y E T , E I T H E R M E D I C A L LY O R P H I L O S O P H I C A L LY . Y O U O U G H T T O K N O W T H A T . ”
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Rhinoceros, Eugene Ionesco pg 98
excerpts from film
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‘Oh, a rhinoceros’ is a repeated phrase throughout the source text - a calm reaction to a rhinoceros running wildly through ones town.
“No matter what you encounter in life, your first analysis of any situation is to see it in the context of what is normal for you and then compare and contrast the new information against what you know usually happens. Because of this, you have a tendency to interpret strange and alarming situations as if they were just part of business as usual.” David McRaney
What is absurd? Research began with this question, identifying what is considered absurd and whether shock value is still pertinent. It seems that artistic absurdity is humourous and interesting, it sparks conversation, but isn’t considered shocking anymore. Long are the days since the Lumière Brothers first showed L’Arrivée d’un train en gare de La Ciota in 1896 - in one of the very first films to grace our theatres; a train came roaring towards the screen and members of the audience screamed with fear, a time when cinema was considered absurd.
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Today, we sit in the post-Internet era, hundreds of visuals flock our many screens and nothing supposedly affects us anymore. We see Lady Gaga wear a dress made entirely of red uncooked meat to an awards show, a woman who married and divorced the Tour Eiffel and our own Australian Prime Minster eat two onions, whole and raw in one week. These things make us laugh, they’re regarded absurd - but they don’t shock us.
SPECTRUM OF BEHAVIOURS these are the things we do in conjunction with a global crisis
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deny ‘look for a second then look away’ turn it into a joke someone else will fix it too busy, too distant cycle of remembering + forgetting small changes big changes
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This is week one of a project titled VERSIONS conducted at the beginning of the semester. A series of images were constructed from the text Library of Babel by Jorges Luis Borges. The text talks of a fairly Utopian world, one in which repetition is dominant and life is structured. These images are that of an anarchistic type of narrative, questioning whether life has to be composed in the way that is deemed ‘normal’. Processes here influenced the final design outcome.
The question ‘Is anything shocking/absurd anymore? Or are we so accustomed to strange things that they have become normalised?’, was asked to a variety of people. Their responses gaged a similar stance - through social media things that are absurd become too distant, one can sip their morning coffee and read about earthquakes, massacres and global crisis and discuss it pragmatically, When confronted with it, it reads a different story. Social media is a dominant force among society today, the above experiment gained only responses of, ‘this is cool’ and laughter. What is prevalent from these studies is not what the absurdity is, but the behaviour towards it.
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Opposite are a few examples of responses received.
Q. Is anything shocking/absurd anymore? or are we so accustomed to strange things that they have become normalised?
“I think with modern media it can be easy to become desensitised, the sheer volume a n d s u b j e c t m a t t e r, i n c l u d i n g s h o c k i n g o r absurd content, seems infinite. But there is a d i s c o n n e c t f ro m t h o s e e v e n t s a n d t h e v i e w e r, they usually have no bearing or influence on their lives.” Remi Picheta
“I think the idea of things, no. But being confronted with these things in real life is still shocking. Absurd stories are kind of the norm but seeing them in front of you is something different again.” Megan Morgan
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“I am totally desensitised to those dreadful t h i n g s t h a t h a p p e n t o o t h e r s m i l e s a w a y, on TV or in the media. I am not shocked, I j u s t fe e l i t ’s a n o t h e r i n c i d e n t t h a t i s to o b i g a n d i n t a n g i b l e fo r m e. B u t i f i t ’s a fa m i l y member with an illness or unexpected news, I’m shocked. There is never anything normal about hearing ‘bad news’ from a loved one. It is always shocking, because bad things still h a p p e n t o o t h e r s , b u t n o t t h e f i t a n d h e a l t h y. Absurdity has been replaced with a sense of awe at the cultural cool of being out of place; or rejection out of hand because it jars with my sense of normal. We don’t let things be absurd. We immediately rationalise them to another experience by whatever thread of verisimilitude we see and, satisfied that all is r i g h t w i t h t h e w o r l d , w a l k o n b y. ” Andy Wooden
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objects + encounter thingness material repetition
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Opposite are two images from a project called LOST PROPERTY. An object was given and made to be documented, each week the documents were passed around and the information re-authored and re-appropriated. In these images one depicts the object as a whole in a familiar/unfamiliar setting, the other image completely re-edits the object for a different purpose, it expands it and makes it inhabitable. The above image demonstrates an encounter with the same object - all with their own environments, their surrounding ‘thingness’.
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Objects strangely lose their sense of singularity, they become more of an entity, an abstraction of themselves when analysing them so intensely. It blurs their meaning or true purpose as an individual object and enhances what goes with it in an environmental sense - a person? And if so, how? Do you hold it in your hand, do you put it on your head? What other objects are associated with it? What other objects or materials activate it, what’s its spatial awareness - what environments does it belong to? No object can be understood without it’s social constructs, whether it has multiple functions or just one. We would not be able to discern anything from it if we had no prior knowledge of objects and the way in which we use them. What is perhaps the most interesting, is that even if we have no clue as to what an object is, we can compartmentalise it’s function - it has a strap so it is worn, it has a handle so it is held, it is similar to another familiar object it must belong to that family.
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Several familiar objects were made from an unconventional material. Rendered useless by the clumsy, water absorbing material of cotton balls, these objects can not be used in day to day activity thus making them unfamiliar.
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In a process of repetition, these objects make a strong connection to materiality and function, the repeating structures resonating a message.
final project
CONCEPTS
another concept for form.
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initial concepts of melted forms, illustrating heat from Climate Change.
Concept of obser vator y boxes with Climate Change causes. The idea was that the viewer had to position themselves in an absurd manner to observe the interior of the box. The yellow colour signifies the ‘in your face this is reality ’ that Climate Change should have.
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a selection of concept drawings
FORM
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To create site-specificity, form came from shapes around site. These shapes were then cut out from balsa wood and time and care were taken in constructing form from model making. These structures are strange and intriguing, they allow the participant access to explore, whilst also dictating the positing of the viewer - illustrating absurd behaviour in a physical action. This is just as much about the observer as it is the participant.
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the bamboo is coated in black paint. the black per forms as a reminder of the bleak reality that is Climate Change.
bamboo is a flexible material and is also environmentally s u s t a i n a b l e a s i t g r o w s q u i c k l y. This will be used as the main structure of each object. they will be joined with liquid nails.
M AT E R I A L I T Y
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apple ipad with lock. a bouncer will also have to be at site.
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the encounter is ‘something in the world [that] forces us to think.’
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Simon O’Sullivan
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Other than serving the purpose to illustrate absurd behaviour by making participates position themselves in strange positions, these objects are photobooths. The booth draws the participant in and allows for a transaction to occur.
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site audience place
E XH
ROB
E ST
ST
LBO
E URN
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ANS SW
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e urn lbo Me ntral Ce
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L AT
IBIT
aff gst Fla dens Gar
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rn the Sou oss Cr on ti Sta
YA R R
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Location Plan 1:24000
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S TAT E LIBR ARY OF VICTORIA FORECOURT
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A
L AT R O B E S T
rmit university
E1
S WA N S TO N S T A
melbourne central
[ D AY 3 0 ]
Plan
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N
1:500 @ A2
QV
audience E1
tourist
shopper
student / library member
cyclist
busker
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lunch break
[ D AY 0 4 ]
Elevation One
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1:200 @ A2
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public space expansive installation programs with State Library broad audience site of education
elements at site
QV
State Library Foyer
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[ D AY 0 1 ]
Section a
1:200 @ A2
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In this section the interior of object one is visible with the participant positioned inside.
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program connection transaction the viral meme
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The Practice of Absurd Behaviour is a program that spans 30 days. Each day an object [photobooth] is placed in the State Librar y of Victoria Forecour t. As t h e o b j e c t s g r o w - s o d o e s t h e c u r i o s i t y, the ‘viral meme’ and the impending notion that Climate Change is creeping up on us.
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The program will work with CLIMARTE’s festival Art + Climate = Change that ran from 11 April - 17 May 2015. This festival looks at creative thinking against the global crisis of Climate Change. http://artclimatechange.org/
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image examples
The final stage of the program is the image. The ipad software allows you to enter your handle (your social media username) and the image that is taken is uploaded directly to your choice of social media with the hashtag #howdoyoubehave. The ideas around social media look at narcissism and ‘the selfie’. In this instance that action is out of your control and the image which is distorted from the photobooth objects, are an approach to increase the virality of the program.
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In connection to Climate Change, the ‘selfie’ is a way to bring the program to the individual, to personalise it, yet also satirise the behaviour of the ‘self’ - the human - juxtaposed to a global crisis.
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#howdoyoubehave
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appendix information reference
SOURCE TEXT
R h in o ce ro s E u g e n e I o n e s co 1959
“Drama has become one of the principal vehicles of information, one of the prevailing methods of ‘thinking’ about life and it’s situations.”
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Martin Esslin
1959
TOWN SQUARE
fashion
France The Grocer’s Wife The Grocer
The Cafe Proprietor The Old Gentleman
language bourgeois lifestyle
summertime small provincial town
The Housewife
The Logician
culture
The Waitress
Jean
Daisy
Berenger
Daisy
BERENGER’S APARTMENT
LEGEND
OFFICE
Dudard Dudard
Daisy
People*
main character
Botard
Mrs Boeuf
rhinoceroses
s nd
og al
ie fr
di INTERACTIONS
c re los la e tio ns
ue
hi
ps
Jean
JEAN’S APARTMENT
A Fireman
STRUCTURE Act One
Act Two
Act Three
The litte Old Man’s Wife
The litte Old Man
*note all character’s transform into Rhinoceroses with the exception of Berenger
I N T E R P R E TAT I O N S / V E R S I O N S 2 5 J a n u a r y 1 9 6 0 , Pa r i s, d i re c te d by J e a n - Lo u i s B a r ra u l t a t the Odeon.
N A R R AT I V E / R h i n c e r o s , E u g e n e I o n e s c o
Mr Papillon
Site
Rhinoceros is a prominent text within the world of drama, hailing as a classic from the movement Theatre of the Absurd alongside Samuel Becketts, ‘Waiting for Godot’. Ionesco not only illustrates the illogical and unexpected life of the human condition but does so with humour and careful observation.
2 8 A p r i l 1 9 6 0 , L o n d o n , d i re c t e d b y O r s o n We l l e s a t t h e Royal Cour t Thea tre. 1 9 6 1 , B ro a d w a y N Y, d i re c t e d b y J o s e p h A n t h o n y a t t h e Longacre Theatre. 1973, Film, American, by Tom O’Horgan. (trailer: https: //w w w. youtube.com/watch?v=tYgR1Pb-lk4) 1990, Musical, England by Peter Hall, Julian Barr y and Jason Carr, titled Born Again. 2007, London, directed by Dominic Cooke at the Royal Cour t Theatre. 2 0 0 8 , F i l m , A m e r i c a n , by J a y Le e, t i t l e d Zo m b i e S t r i p p e rs. (trailer: https: //w w w.youtube.com/watch?v=UVkQCDf Ie38)
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+ multiple amateur productions
TE RMINOLOGY Anti-Play. Conventional dramas or ‘well made’ plays contain a hero, plot and a conclusion - a narrative; they depict a world in which reality is stable and aptly packaged up, all ends well and certainty is clear. The anti-play illustrates the world as it is; illogical and irrational, having no neat resolve. Avant-garde; Vanguard or fore-guard (military; forefront) is a French term used of people/work that pushes the boundaries of what is deemed ‘normal’ or standard in culture and society. It is particularly affluent in art, culture and politics. Late 19th - 20th century present. Bourgeois; a lifestyle of the working class in which the repetitiveness, dullness and shallowness of work and relationships plays a heavy burden on the protagonist, Berenger. Jean suggests that if he immerses himself in the ‘cultural and literary events of the times’, buy expensive clothes and shave everyday and cut down on his drinking, Berenger will enjoy life more.
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Climate Change; the impending global crisis that will take drastic effects on our planet. This is consequence to actions we have taken as humans; polluting the earth’s atmosphere with chemicals preventing carbon dioxide to exit into the universe, thus creating the ozone layer. Heat is rising, oceans are becoming more acidic and ice sheets are melting. Scientists claim
that if we continue in this way, disease will spread, islands will be engulfed, crops will die and 25% of plants and animals will disappear as they will be unable to adapt fast enough. Fascism; an aggressive and powerhungry governmental system who forcibly suppress any free-thought, often through nationalism and racism; dictatorship. Nazism; national socialism, social Darwinism, master race, racial hierarchy, secular ideology, Utopian society. Propaganda; a means of communication, usually put forth by a government body to sway political opinion; whether information is true or false. Theatre of the Absurd is a dramatic art form which relinquishes the conventions of drama and illustrates the human struggle in a frightening and irrational (absurd) world.
p reced ent s
Marina Abramovic Rhythm 0 (1974)
Olafur Eliasson Dream House (2007)
Tilda Swinton The Maybe (1995-2013)
Performance artist Marina Abramovic stood in a gallery space like a puppet for 6 hours in front of a table with 72 objects on it- ranging from flowers and feathers, to knives and even a gun with one bullet in it. This piece was about how far a human would go if an opportunity was laid out in front of them. At the beginning Abramovic was given kisses and hugs, but soon the audience began to get violent cutting her, ripping her shirt off and putting the gun in her hand.
In Dream House the inhabited space only concerns the head of the viewer who sees versions of the surrounding area through camera obscura style screens. Observing from the exterior it almost appears as if the viewer takes on the shape of a monstrous form.
During this performance Tilda Swinton sleeps in a glass vitrine, in a gallery space - most notably in the foyer of the MOMA building. Swinton is offering “namely, the possibility of the scrutiny by the viewer of the “unwatched” who cannot “watch” back.”1
As the relationship of the singular viewer inside of the object is observing the exterior space, a relationship forms from the observer(s) of the viewer who is inhabiting the object. This takes place in a public sphere.
By observing an everyday behavioural act by someone else in a gallery space, it is looked upon as absurd - witnessing the behaviour of others so openly. http://www.anothermag. com/art-photography/2664/ tilda-swintons-the-maybe
1
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Theses elements of illustrating the absurdity of human behaviour and interaction are explored in the design.
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REFERENCES
Bourriaud, Nicolas. Relational Aesthetics. Translated by Simon Pleasance & Fronza Woods. France: les presses du réel, 2002. CumberbatchedIT1. ‘Benedict Cumberbatch - Rhinoceros (2007) - Interviews and rehearsal.’ Youtube video, 6.34. Janurary 30, 2013. https://www.youtube.com/watch?v=oxmY8s1lICk Encyclopedia Britannica, 2014, ‘Theatre of the Absurd’. http://www. britannica.com/art/Theatre-of-the-Absurd Esslin, Martin. The Field of Drama: How the Signs of Drama Create Meaning on Stage and Screen. London: Methuen Drama, [1987] 1988. Esslin, Martin. Introduction to Absurd Drama, edited by Martin Esslin, 7-23. Ringwood, VIC.: Penguin Books, 1965. France. “The Constitution of the Fifth Republic.” Accessed April 15, 2015. http://www.france.fr/en/institutions-and-values/constitutionfifth-republic.html Hara, Kenya. Designing Design. Zurich: Lars Muller Publishing, 2007. Ionesco, Eugene. Rhinoceros. Translated by Derek Prouse. London: Penguin, [1959] 2000. McRaney, David. You Are Not So Smart, Why You Have Too Many Friends on Facebook, Why Your Memory is Mostly Fiction and 46 Other Ways You’re Deluding Yourself. London, Penguin Books e-book, 2011. Miller, Kristie, ‘Thing and Object’, The Object, Whitechapel Gallery, edited by Antony Hudek. Cambridge, Massachusetts: MIT Press, 2014. Sparknote Editors. “Sparknote on Rhinoceros.” Accessed April 17, 2015. http://www.sparknotes.com/drama/rhinoceros/ Tate. “Avant-Garde.” Accessed April 16, 2015. http://www.tate.org.uk/ learn/online-resources/glossary/a/avant-garde
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Whitechapel Gallery. Participation, edited by Claire Bishop. Cambridge, Massachusetts: MIT Press, 2006.
IMAGE REFERENCES
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