Sadomasochism and Transgressive architecture
by
robert Alexander smith
Robert Alexander Smith Student Number – 296301 www.robertalexsmith.com Subject: Design Research Subject Code: ABPL90305_2014_SM1 Tutor: Janet McGaw Thesis Supervisor: Peter Raisbeck The University of Melbourne 1-100 Grattan Street Parkville Victoria 3010
Sadomasochism and transgressive architecture
by
robert Alexander smith
Research Question How can performance theory be adapted to narrative based architecture? Through exploring themes of sadomasochism on architectural performance, how can George Bataille’s and Michael Foucault’s theories of transgression be explored in an architectural environment?
Research Statement George Bataille theorises that sexual transgression and the breaking of sexual and violent taboos allows us to ‘experience mortality’ in a way we cannot in everyday life. He uses the subversive pornographic works of the Marquis de Sade to qualify the yearning for erotic practices. The sexual taboos of contemporary society have meant that the design community has largely ignored the marginalised BDSM community. This work will investigate transgressive spaces – particularly those of the Marquis de Sade and Antonin Artaud – and apply these theories to a narrative based architectural project, exploring the idea of the ‘limit experience’. This thesis will take the form of an investigation on the application of architectural theory on theatre and immersive performance traversing sexual transgression and sadomasochism. How do trangressive practices manifest themselves spatially? How can eroticism and transgression be more adequately designed for? (i.e. the inadequacies of the traditional bedroom space for sexual activity) and what are the further implications on designing an architecture for sexual transgression?
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Research Question & Statement
4 Research Question 4 Research Statement 7 Introduction 11 Part I: Theoretical Positioning 19 Part II: Studies from Real Life, Precedents and Case Studies 31 Conclusion: Forming a Brief 35 Endnotes, figures and captions. 39 Annotated Bibliography
Table of Contents
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INtroduction Taboo and transgression
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Perhaps [transgression] is like a flash of lightning in the night which, from the beginning of time, gives a dense and black intensity to the night it denies, which lights up the night from the inside, from top to bottom, yet owes to the dark the stark clarity of its manifestation, its harrowing and poised singularity.1 - Michael Foucault
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The study of taboo and transgression has been a popular, subversive field of study since the turn of the century. From Bataille to Foucault, the act of transgression has been fundamental to modern philosophical thinking. Transgression – or the willing act of breaking a law, rule, code of conduct or taboo2 – has been largely overlooked spatially. As a taboo, these lifestyles are lived in the shadows, often in the privacy of homes, spaces are adapted by users to suit their often very specific needs. This case it is unique in that, if the space for the act was to become mainstream it would undermine the effectiveness of the transgression. The taboo is taboo because it is unspoken, hidden and subversive. Ultimately the taboo should be preserved. As George Bataille writes in Eroticism, ‘The transgression does not deny the taboo, but transcends it and completes it’.3 This paper is primarily focused on the spatial implications of acts of erotic transgression. Erotic transgression in particular is still considered a taboo in contemporary society, like most erotic acts. The paper will begin with an introduction to the key theories relating to eroticism, transgress and sadomasochism in architecture, leading to a case study of four ‘typologies’ of transgression, concluding with the development of a brief that will eventually lead to an architectural design. Through creative research and design, an attempt will be made to understand the spatial needs of erotic transgression; its narrative structure in space; the subtle shifts, and delicate balance of power and control; and the boundary between audience (or voyeur) and performer. Robert Smith – 296301
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Part I Theoretical positioning
The History of Transgression The function of taboo in contemporary society is contested. Philosopher George Bataille in his seminal work Eroticism, attempts to delve into the roots of taboo, to discover why they are still so prevalent in society. Religion, in its function as a regulator of social interaction, is often seen as the creator and upholder of taboo. In our society, Christianity has a extensive set of taboos, particularly in reference to sexuality and eroticism. This came as a result of the destruction of Paganism by Christianity.4 In the Pagan religions, sex and everyday life were deeply intertwined, sexual acts, orgies and mass masturbation ceremonies were held to honour their gods (Fig 1 & 2). When Christianity took over, it immediately condemned all acts of sexual transgression, and took sexuality from the forefront of life and placed it firmly in the shadows, into the bedrooms of private homes, and out of the street.5 It is from this that we have our current ideology of the taboo of sexuality and eroticism. The spatial implication of this are still felt today, the bedroom, once used for sleeping alone was now a place for sleeping, and (marital) sex. However, as it was not an appropriate topic of conversation, bedrooms are still largely designed for the act of sleeping, not sexual activity.
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Freud based his interpretation of the taboo on the primal necessity of erecting protective barrier against excessive desires bearing upon objects of obvious frailty.6 - George Bataille, Eroticism
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George Bataille argues that most of our modern taboos are outdated, and are no longer relevant to our lives today, and by nature of taboo, have not been questioned or challenged.7 The Marquis de Sade – a supporter of transgression –, in his novel Incest explains that ‘there is nothing real in the world, nothing which merits praise Robert Smith – 296301
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or blame, nothing worthy of being rewarded or punished, nothing which, though it is unjust here, is not legitimate five hundred leagues away – no real evil, in word, and no constant good’9, arguing that if taboos were ‘of nature’, they would be universal, as they are not they must be a product of society, and therefore should be challenged. Bataille supports this theory, proposing that the act of transgression is as important as the taboo itself, ‘Organised transgression together with the taboo make social life what it is’. The Marquis de Sade’s work were re-discovered in the early 19th Century, and quickly became influential texts in modern literature, art and philosophy. While persecuted in his own time as a pornographer, his works delve into a subversive aspect of humanity, through their particularly violent erotic transgression. These works have lead to that particular act of transgression to be named sadomasochism, after De Sade. De Sades work, and sadomasochism, is inextricably linked to the notion of the ‘limit-experience’.
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Eroticism, it may be said, is assenting to life up to the point of death.10 - George Bataille, Eroticism
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The concept of the ‘limit-experience’ is integral to the understanding of erotic transgression, Bataille, who was instrumental in forming our understanding of eroticism, proposed that all sexual encounters (those not with the sole aim to reproduce) were a way of dealing with Man’s obsession with death, its inevitability, and our desire to understand it.11 Sadomasochism has been an entry point for many who attempt to achieve a limit-experience, or transgress through eroticism. As architects we are concerned with designing spaces for life, why then should we not design for ‘life up to the point of death’?
Architectural Theory of Transgression Erotic transgression has been explored through architecture in many different iterations. It has been thought of primarily as an interaction of body in space, as explored by Michael Foucault, who himself became more and more involved in the BDSM sexual community towards the end of his life, which greatly influenced his works, and subsequently many thinkers after him.12 Bechir Kenzari, in his introduction to Architecture and Violence, argues that the act of building is a violent act within itself, against the earth, therefore architecture and space itself in inherently violent.13 Following George Batailles theory that all violence is inherently sexual and erotic, it can be argued that architecture is erotically charged space by its nature. In Elie Haddads article ‘Architecture as Exquisite Violence’, Haddad explores the juncture between architecture violence and sex though the 14
Part I – Theoretical Positioning
Fig 1. Ancient Greek plate featuring erotic acts between a master and his slave.
Fig 2. An orgy scene from a Hindu Temple relief.
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dissection of the underground club ‘B-018’ in Lebanon (Fig. 3 & 4). Built on the site of a Palestinian refugee camp in Beirut, the building brings a sexuality to the site though its positioning, aesthetics, function and most significantly, narrative.14 Haddad argues that the transgressive act is the architecture itself, not necessarily the patrons, and uses Batailles theory of transgression to offer an insight into the space.15
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Bataille’s assertion that eroticism is intimately bound to the idea of death finds a resonance in this particular work... [the club] incorporates the idea of death and celebrates it by confronting it with the erotic.16 - Elie Haddad
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The narrative in spaces of transgression forms a critical part of the journey and interpretation of the space. Design firm Diller + Scofidio + Renfro, thoughout its history has explored notions of narrative and architecture, particularly in relation to body and space. In their retrospective Flesh they explore the bodies narrative in space, though a violent, and perhaps sexual, clashing of nature and technology, reinforcing Kenzaris assertion of the innate violence inherent in architecture itself.16
Transgressive practice today Today, the theories of transgression have been applied loosely to architecture, however there has not been any significant research into the spatial needs and design of a space to practice sadomasochism, or eroticism. What do these spaces look like, and how can they be improved and accessed by those wishing to participate in that lifestyle?
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Part I – Theoretical Positioning
Fig 3. Interior of B-018, Image courtesy of Bechir Kenzani.
Fig 4. Exterior of B-018, Image courtesy of Bechir Kenzani.
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Part II:: Studies from real life ( precedents &&&&+ case studies)
Introduction This section of the paper offers a discussion into four examples of the spatial iterations of transgression, taboo, eroticism and sadomasochism. These case studies attempt to offer an insight into the subversive world of transgressive practice, with varying levels of involvement. The case studies are: ▶▶ The Story of O by The Rabble, a devised theatre piece based on an erotic novel, ▶▶ Salò, or 120 Days of Sodom, a film by Pier Paolo Pasolini based on the novel of the same name by the Marquis De Sade, ▶▶ Spearmint Rhino, a chain strip-club in Melbourne’s CBD ▶▶ and, Abode, a fetish club in St Kilda. Each case study dissects the narrative structure of the space; the delegation and division of power; and the spatial construction, or deconstruction of the audience and performer.
Transgression on Stage – The Rabble: The Story of O As part of the Melbourne Theatre Company (MTC’s) NEON Festival of Independent Theatre, The Rabble, a Melbourne based theatre company presented an adaptation of the erotic novel, The Story of O. Directed by Emma Valente and Designed by Kate Davis, the controversial production was symptomatic of the popular shift in interest in sadomasochism in literature, presenting disturbing images to the traditionally conservative MTC audience. The original novel, written by Anne Desclos, under the pseudonym Pauline Réage, was published in France in 1954 and quickly became a subversive hit, and has gradually amassed a cult following. The story follows the central character of
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O and her submission to torture, sodomy and various sadomasochistic acts as she is conditioned to be a part of an elite mens club. The work was heavily influenced by the work of De Sade, who often used the device of the enclave of men (often in a secluded, rural location) training a submissive woman. The work has been heavily criticised for its representation of a submissive woman, complicit in her fate. The Rabble’s adaptation of the novel transposed the work into a contemporary setting, in a place-less space. Presented in the Lawler Studio at MTC’s Southbank Theatre complex, the set comprised a large open space, covered in sand, surrounded by high white fabric walls. In the far corner sat three displaced carousel horses (Fig 6). The sand was, when required, swept back to reveal markings on the floor underneath, to direct O during her submissive training (Fig 5). A large component of the performance design was the use of a live video feed to provide cinematic extreme close-ups, which were projected against the back wall. The nature of the performance venue meant there was only one exit, and to reach said exit, the audience must walk directly across the front of the stage, often a metre away from the performers. The season was sold out and extended (as were many of the NEON shows) with a maximum capacity of 150 seats. The show was presented in one act with no interval, the performers used this to maximum effect, often drawing out scenes of torture and sodomy for many minutes. During its run, many audience members chose to walk out of the show midway through – between 5 and 20 patrons per performance – often during the most confrontational scenes, over the sand, intruding into the performance space. Many other audience members visibly struggled with the scenes. Ultimately the performers exercised a power over their audience, a power of form-breaking theatre versus the acceptable social rules of the theatre space. Due to the single exit point, each audience member who left became, for a short time performer themselves. The performers committing a violent act towards the patron, and vice versa.
Fig 5 & 6. The Story of O by The Rabble. Images: Guy Little through www.therabble.com.au (accessed 4th June 2014)
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Part II – Studies From Real Life
Transgression on Screen – Salò, or 120 Days of Sodom ‘Salò, or 120 Days of Sodom’, known colloquially as simply ‘Salò’ is an adaptation of the erotic novel 120 Days of Sodom by the Marquis De Sade, written and directed by Italian director Pier Paolo Pasolini has been controversial since its 1975 release, and is one of the most banned films in mainstream cinema (in Australia, it is required to be sold or screened with an accompanying four hours of supplementary footage and documentary, detailing the cultural significance of the film). Set in the town of Salò, Italy, where Mussolini ran his fascist regime, in 1943, shortly after the fall of Mussolini. The film tells the story of four wealthy businessmen who kidnap 18 young girls and boys and subject them to 120 days of physical and mental torture, sexual abuse and sadism. The film uses sadism to explore themes of political corruption, abuse of power perversion, sexuality and fascism. The film is structured info four segments, based on Dante’s circles of hell: ▶▶ ▶▶ ▶▶ ▶▶
The Anteinferno The Circle of Manias The Circle of Shit The Circle of Blood The narrative is perforated by long monologues by three older women, seasoned prostitutes, who regail the ‘masters’ and ‘servants’ with stories from their career, often involving sadistic acts and coprophagia. As the film progresses, the audience is invited to sympathise with the captives through their constant humiliation and forced submission.
Fig 7. A film capture from Salò, or 120 Days of Sodom. Image courtesy of United Artists.
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Fig 8. A film capture from Salò, or 120 Days of Sodom. Image courtesy of United Artists.
Fig 8 & 9. A film capture from Salò, or 120 Days of Sodom and a ‘behind the scenes’ still , featuring director Pier Paolo Pasollini filming the penultimate scene, turning the perspective to ‘first-person POV’, deconstructing the audience/performer relationship. Images courtesy of United Artists.
The film is set in a large estate in the north of Italy. Echoing the narrative structure, the set is a series of chambers and ante-chambers, highly decorated, decaying neoclassical cavernous spaces, decorated with art-nouveu fittings. The scale of the settings re-enforcing the submission of the young children, and the power of the four ‘masters’. The architectural space heightens the emotional impact of the violent acts. In the penultimate scene, the aspect of voyeurism is examined through the use of a sequence of shots, through the eyes of the four ‘masters’ who oversee the murder of the majority of the ‘slaves’ in the central courtyard (Fig 8 & 9). The entire sequence is filmed through a lattice, offering an obscured view of the scene. This scene occurs after almost two hours of relentless scenes of torture and sadism, and shift the focus back to you the complicit audience, placing you in the perspective of the ‘masters’ giving an unsettling moment of self-reflection, through the lens of cinema, a quintessentially voyeuristic experience. 24
Part II – Studies From Real Life
Regulated Transgression – Spearmint Rhino Gentlemens Club Spearmint Rhino is one of Melbourne’s largest and most successful strip clubs. Positioned in the heart of the ‘Strip Club District’ on King St in Melbournes CBD, and is one of 20 clubs in the Spearmint Rhino chain. Each club – around the UK, US, Canada and Australia – has identical décor, and is configured in the same basic layout. Despite many serious crimes (predominantly street violence), the club has gained a reputation of quality and safety, paired with a strong global brand.
Fig 10 & 11. Security footage from a brawl at the Spearmint Rhino. Images: Spearmint Rhino through www.heraldsun.com.au (accessed 4th June 2014)
The clubs simple layout comprises four main areas (Fig 15): ▶▶ the lounge ▶▶ the main-stage ▶▶ the private dance booths ▶▶ and the VIP area. Each of these spaces bleed into one another, with simple thresholds to differentiate spaces. The low, colourful lighting, dark upholstery and busy, patterned furnishings contrast the bare, glossy skin of the performers. The narrative structure of the space begins simply with the bright, open foyer, which leads up a staircase to the busy club. At this point, the shared narrative breaks down and smaller, personalised narratives
Fig 12 & 13. Details from the Spearmint Rhino, Prvate Dance booth left, and mainstaige space right. Image: Robert Alexander Smith 2014.
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take its place. The patron is approached by a performer playing an archetypal character who personalised the experience to the patron, encouraging them to buy private dances. Choice options are limited within the space and are predominately dictated by the performers. As a registered, licences business, acts of transgression within the space are dictated by a set of strict rules, both spoken and unspoken. Thus power play within the space is highly regulated and, to an extent, formulaic, to the detriment of sexual excitement. Each of the spaces has a slightly different set of rules associated with them. Levels of interaction with the performers are dictated by the performer, the patron is submissive in this power relationship, despite the fact that the patron dictates the performance through dollar power. The patron ultimately has the power to choose, however tactics and a seemingly scripted, calculated performance can be seen to coerce the patron into purchasing more, and more expensive private dances. Ultimately the taboo of sexual pleasure breaks down in this highly restricted environment. The patron is acutely aware of limit and restriction, and the absence of real choice and power, thus the erotic experience is diminished. The illusion of real danger, or real emotional or sexual connection is absent.
Informal Transgression For many, the first introduction into the contemporary of bondage, domination, sadism and masochism (BDSM) community is the global social networking site FetLife (Fig 14). Users from around the world can connect, find people with similar interests, discover new aspects of the community, find nearby events and gatherings, or search through user-uploaded images and videos of BDSM.
Fig 14. A screenshot of fetish social networking site FetLife. Events are listed based on proximity. Image: of www.fetlife.com (accessed 4th June 2014)
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Part II – Studies From Real Life
KING STREET
ENTRY PLAN
KING STREET
LEVEL 1 PLAN
UNKNOWN SPACES STAFF ONLY VIP AREA PRIVATE DANCE SPACE - INVITATION ONLY GENERAL ADMISSION Fig 15. Schematic plan of Spearmint Rhino Gentlemen’s Club. Image: Robert Alexander Smith 2014.
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Social events and gatherings within the niche, but increasingly popular community, are predominantly private events, held in the homes of individuals, many of whom have dedicated ‘dungeon’ spaces, kitted out in fetish gear and toys. These events are invite-only, and previous participation in similar events is necessary. There are very few dedicated spaces within Melbourne. These events can be social, or sexual. One of the most popular events in Melbourne is a monthly gathering, Chainz, held in the function room of the Royal Standard Hotel on King Street. This is a nonsexual networking event, with demonstrations, workshops, often combined with an informal meal. The space is appropriated for the night, then returned to a function room the next evening. Like an informal marketplace, each ‘exhibitor’ stakes out a space in the large room to run their workshop, or often sell their toys and equipment.
Abode Club, St Kilda One of the only dedicated spaces for BDSM in Melbourne is the Abode Club on St Kilda Road. A renovated hotel, the clubs looks very inconspicuous from the exterior, windows are boarded up and blacked out, and there is a complete absence of signage. The only signs of life are many new security cameras around the perimeter, a stark contrast to the deteriorating façade. The club itself is a fetish club, and does not exclusively cater to BDSM, although it forms a large part of the fetish culture. Entry to the club is a small, unmarked door which is accessed off the side street, re-enforcing the secretive, underground image. An entry fee is paid, then for new visitors, the owner meets you, discusses your particular interest in the place and the community, then gives you a tour. The upstairs lounge is divided into two distinct sections. The public lounge forms the largest section of the club, book-ended by a bar at one end, and a secluded smoking balcony at the other. Three rooms comprise the lounge area, heavy fabrics drape over almost every surface, and light is provided by low, table-lamps, casting a warm glow over the intimate, homely space. Down a dark corridor are the ‘back rooms’, these areas are invite-only. A heavy steel gate separates this space from the others. The back rooms comprise three rooms with space for
Fig 16 & 17. Detail of Abode Club, The private sex-swing room, left, and the bondage room, right. Image: Robert Alexander Smith 2014.
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Part II – Studies From Real Life
MARTIN STREET
ST A
D KIL RO AD
ENTRY PLAN
MARTIN STREET
ST DA
KIL AD RO
LEVEL 1 PLAN
UNKNOWN SPACES STAFF ONLY BACKROOMS - INVITATION ONLY BACKROOMS - PAID ENTRY GENERAL ADMISSION Fig 18. Schematic plan of Abode Fetish Club. Image: Robert Alexander Smith 2014.
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A
B
C
Fig 19. Diagram of acceptable and unacceptable spacial proximity while in the Abode club, as demonstrated during the introductory tour by owner John. (a) shows invasive and unnaceptable proximity, (b) shows a proximity that invites an interaction, and (c) shows an appropriate distance for passively observing. Image: Robert Alexander Smith 2014.
different fetish practices. The first room is the swing room, which is invite only, the door is locked open, and you may only watch if implicitly invited. The second and third rooms are spaces for other fetish play. In these spaces you are free to watch, at an appropriate distance, the goings on, or participate. (Fig 18) Like Spearmint Rhino, a strict set of rules govern behaviour within the space, these are printed up, read and agreed to, as a condition of entry. However, unlike the strip club, these rules are universal and apply to all within the space to ensure ‘safe and ‘allows you to explore your indulgences in a safe, welcoming and respectful space like no other.’ Each patron plays the role of performer and voyeur, the switch between the two with great fluidity. The space itself allows you the comfort to explore a variety of aspects of the lifestyle. In the fetish community, many prefer to use specific identifyers to qualify their role within the space: ▶▶ ‘Dom’ (Dominant, prefers to have the upper hand in the power relationship) ▶▶ ‘Sub’ (Submissive, submits to a ‘Dom’) ▶▶ ‘Switch’ (prefers both Dom and Sub equally and can play either role). These labels replace the traditional sexual identity labels (gay, straight, bisexual etc…) and have their own unique rules of play within the space.
Summary These four distinct examples offer vastly differing approaches to erotic transgression, the narrative structure of space, the effect of power and control, and the audience/ performer relationship. In comparing and contrasting the Spearmint Rhino Gentlemen’s Club and the Abode club, it becomes clear that the latter explores, more effectively, the notions of erotic transgression that Bataille encourages, for here the taboo is in-tact, as is the transgression. The subversive environment, paired with liberation strengthens the taboo, heightening the limit-experience, rather than dulling it through regulation and commodification. 30
Part II – Studies From Real Life
COnclusion Forming a Project Brief
Conclusion The key theme to emerge from the research to-date has been that the power of the transgression resides in the preservation of the taboo. The next step in the design process is the development of an architectural intervention, a place for transgression that upholds the taboo it aims to transgress. I want to explore what it means to create a transgressive architecture. The design project will include discussion with key stakeholders, those in the BDSM community. A detailed examination into how users adapt spaces for sadomasochism, and what the spatial requirements are for those acts. The key themes of subversion, narrative, power-relationships and the audience/performer relationship will be key in understanding how an architecture can truly transgress. An architecture not only of experience, but limit-experience.
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endnotes, figures and captions
Endnotes 1. Michel Foucault, The History of Sexuality: Volume I, Penguin [London], 2008 (1978). p 47. 2. www.dictionary.com (Acessed 1st June 2014). 3. George Bataille, Eroticism, Penguin [London], 2012 (France 1957). p 63. 4. Dermaid MacCulloch, A History of Christianity, Allen Lane [London], 2009. p 121. 5. Dermaid MacCulloch, A History of Christianity. p 121. 6. George Bataille, Eroticism. p 71. 7. George Bataille, Eroticism. p 89. 8. Marquis de Sade, Incest [EugĂŠnie de Franval], Alma Classics [London], 2014 (France, 1799). p 55. 9. George Bataille, Eroticism. p 65. 10. George Bataille, Eroticism. p 11. 11. George Bataille, Eroticism. p 89. 12. Gordana Fontana-Giusti, Foucault for Architects, Routledge (Oxon), 2013. p 102. 13. Bechir Kenzari (ed), Architecture and Violence, Actar (Barcelona), 2011. pp 12-18. 14. Bechir Kenzari (ed), Architecture and Violence, Actar (Barcelona), 2011. p 88. 15. Bechir Kenzari (ed), Architecture and Violence, Actar (Barcelona), 2011. p 92. 16. Bechir Kenzari (ed), Architecture and Violence, Actar (Barcelona), 2011. pp 12-18.
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Endnotes, Figures and Captions
Figures and Captions Fig 1. Ancient Greek plate featuring erotic acts between a master and his slave. Fig 2. An orgy scene from a Hindu Temple relief. Fig 3. Interior of B-018, Image courtesy of Bechir Kenzani. Fig 4. Exterior of B-018, Image courtesy of Bechir Kenzani. Fig 5 & 6. The Story of O by The Rabble. Images: Guy Little through www.therabble.com.au (accessed 4th June 2014) Fig 7. A film capture from Salò, or 120 Days of Sodom. Image courtesy of United Artists. Fig 8. A film capture from Salò, or 120 Days of Sodom. Image courtesy of United Artists. Fig 8 & 9. A film capture from Salò, or 120 Days of Sodom and a ‘behind the scenes’ still , featuring director Pier Paolo Pasollini filming the penultimate scene, turning the perspective to ‘first-person POV’, deconstructing the audience/performer relationship. Images courtesy of United Artists. Fig 10 & 11. Security footage from a brawl at the Spearmint Rhino. Images: Spearmint Rhino through www.heraldsun.com.au (accessed 4th June 2014) Fig 12 & 13. Details from the Spearmint Rhino, Prvate Dance booth left, and mainstaige space right. Image: Robert Alexander Smith 2014. Fig 14. A screenshot of fetish social networking site FetLife. Events are listed based on proximity. Image: of www.fetlife.com (accessed 4th June 2014) Fig 15. Schematic plan of Spearmint Rhino Gentlemen’s Club. Image: Robert Alexander Smith 2014. Fig 16 & 17. Detail of Abode Club, The private sexswing room, left, and the bondage room, right. Image: Robert Alexander Smith 2014. Fig 18. Schematic plan of Abode Fetish Club. Image: Robert Alexander Smith 2014. Fig 19. Diagram of acceptable and unacceptable spacial proximity while in the Abode club, as demonstrated during the introductory tour by owner John. (a) shows invasive and unnaceptable proximity, (b) shows a proximity that invites an interaction, and (c) shows an appropriate distance for passively observing. Image: Robert Alexander Smith 2014.
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Annotated Bibliography
Annotated Bibliography Note: The bibliography is listed in the order the references were sourced and studied, in an attempt to shed further light on the thought processes that lead to the thesis. Hubert Selby Jr., Last Exit to Brooklyn, Penguin [London], 1966. Last Exit to Brooklyn, Selby Jr’s most famous novel, second to the hugely successful Requiem for a Dream, and its subsequent film adaptation, was a highly controversial book, and the subject of a subsequent obscenity trial. The novel explores the ordinary, everyday lives of New Yorkers, dealing with drug addiction, sex addiction, and scenes of rape and graphic violence. Selby Jr explores ordinary peoples hedonistic desires, and the disastrous consequences of either suppressing them, or allowing the freedom to be expressed. Last exit to Brooklyn was an important text in the open discussion of social taboos, leading the way for future writers to explore and deconstruct.
Marquis de Sade, Incest [Eugénie de Franval], Alma Classics [London], 2014 (France, 1799). Incest, originally titled in French Eugénie de Franval documents the incestuous relationship between Monsieur de Franval and his daughter. M. Franval, at 19 weds and conceives a child with a 15 year old bride, he removes her from society and her mother, giving her little to no education, particularly omitting any form of teaching on morality or religion. At nine years old he mover her into his apartment, away from her mother, educates her further before consummating the now romantic relationship at 14. The book delves into the taboo love between the father and daughter, and the social consequences in revolutionary Paris. Written while the Marquis de Sade was imprisoned in the Bastille, the crux of the novella lies in its political and philosophical discourse into 40
Annotated Bibliography
morality, evil and nature within ‘civilised’ society. This only really becomes prevalent in a four-page dialogue between Franval and the preist, while he examines the fluidity of morality and happiness, and the cultural specificity of taboo, not as a universal ‘nature’ but as a product of culture.
Michaela MccGuire, A Story of Grief, Penguin Specials [Melbourne], 2013. This short essay is portrayed as an examination of the rape and murder of Jill Meagher, however is essence it is an examination of the authors reaction to the events that unfolded during the crime It appears to have been rushed, and is therefore not founded on any fact of reference, more of a exploration into why we grieve for people who we don’t know personally and the effect of greif in a large mass of people, a collective mourning and the right s people feel to be able to grieve. One of the strongest elements of the novella is its discussion of the safety, or perceived safety of the city, as opposed to the actual violence that occurs, what is the difference between perception and reality. One question that was touched upon in the media, and in particular social media, is why did this girl get so much attention, whereas the hundred of raped and missing persons get barely a mention. Although colloquially written, this book could be useful as a starting point to understanding the Meagher case and its impact on the city.
Slavoj Žižek, Violence, Picador [New York], 2008. Slavoj Žižek explores our relationship with violence through the lens of Lacanian psychoanalysis from his Marxist perspective. Žižek explore violence in all of its forms, from political violence to human-to human violence, and its consequences on the world today. In a controversial chapter, he explores the September 11 attacks, and attempts to dissect the motives and effects of racism, driven to extreme acts of violence. Žižeks colloquial language and stream-of-consciousness-style chains of thought allow easy access to a contemporary (albeit radical) view of violence. Despite a detailed analysis of violence, Žižek never attempts to draw conclusions on the effects or ethics of violence.
Lucy Nevitt, Theatre & Violence, Palgrave MacMillan [Hampshire], 2013. As a part of the ‘Theatre &’ series, a series of short “onesitting” companions to theatre, Theatre & Violence explores the history and theories of Violence on stage, using examples from well known playwrights, such as Phillip Ridley and Sarah Kane. It discussed why these works are important, and, broader, why it is important for these works to be stage. Nevitt discusses theorist, such as Zizek in exploring these issues. Nevitt concludes that performers, directors and theatre makers portray violence on stage to allow an audience to safely view, and suggests all theatre makers condemn violence off-stage, a statement I disagree with. Robert Smith – 296301
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Joe Kelleher, Theatre & Politics, Palgrave MacMillan [Hampshire], 2009. This short theatre companion discusses theatres involvement in politics, not political theatre. In other words, how theatre deals with political themes. The book gave a shallow discussion on the topic but failed to place it within the sphere of Political Theatre (theatre with the power to change and challenge politics).
Marquis de Sade, Justine (or the Misfortunes of Virtue), Oxford University Press [London], 2012 (France, 1791). Written while incarcerated in the Bastille, The Marquis de Sade published his most provocative and successful novel. Justine tells the tale of a young girl of fourteen and her everlasting search for virtue and the grave misfortunes that follow her, being brutally raped and tortured by successively more violent and evil men, finally being ripped apart by a lighting strike through her breasts. Through sadomasochistic pornography, De Sade managed to disseminate themes of anti-establishment, and anti-religion libertine philosophy to the French masses. While horrific in imagery, the story is bizarrely compelling as you, the reader are disgusted by Justine’s persistent ignorance to the realities of her situation and her persistant believe in virtue, while still maintaining the intense eroticism.
Antonin Artaud, The Theatre and It’s Double, Oneworld Classics [Richmond], 2011 (France 1938). This seminal work in performance theory discusses the state of theatre in 1930s Paris, the text has been one of the most formative works in contemporary theatre. Artaud discusses mortality and the place of theatre in society to challenge audience’s expectations, and to alter their world-view. Through a collection of essays, written within a decade, Artaud proposes his ‘theatre of cruelty’. The ‘cruelty’ he proposes is not necessarily violence, but instead, a way of viciously exposing the truth, in contrast to the traditional theatre of his time, which was geared towards light entertainment, instead to view theatre as ‘a means by which artists assault the senses of the audience, and allow them to feel the unexpressed emotions of the subconscious.’ The thesis does not attempt to draw a concrete definition of what his new theatre is, instead defining it by what it is not.
Peter Brook, The Empty Space, Penguin [London], (1968).
2008
Peter Brook, a British film and theatre director and theorist, was heavily influenced by Artaud’s Theatre of Cruelty, and to a lesser extent, Brecht, Grotowski and Meyerhold. The Empty Space, Brooks first book attempts to classify his own thoughts on theatre into four segments: Deadly, the theatre that is void 42
Annotated Bibliography
and vapid, without substance; Holy, or transcendent theatre, the theatre of the impossible; Rough, messy theatre filled with imperfection but ultimately accessible to an audience; and Immediate, the theatre that affects, how theatre should be. Throughout, he extrapolates how these classifications overlap. Ultimately Brooks seminal book fells somewhat outdated in the contemporary theatre setting, and is in need of a contemporary re-write.
The Purge 2013, motion picture, Universal Pictures, California. The Purge, from mainstream studio Universal Pictures, and its soon-to-be-released sequel, imagines an alternate reality future, where America has introduced a law: for one night a year, everything is legal, from looting, to murder, ‘purging’ the citizens of their need to commit crime. This leads to extremely reduced crime rates during the rest of the year, no unemployment or homelessness, as these citizens have been ‘purged’. The film explores the innate need for violence that exists in a society, and the potential benefits (and harm) is the result of a society that can freely express these violent tendencies.
O. F. Bollnow, Human Space, Hyphen Press [London], 2011 [1963]. Bollnow’s incredibly dense book is considered one of the ‘most comprehensive studies of space as we experience it’, being in its eleventh edition in its original German, continuously printed since its first edition. Bollnow begins with the first theories of space and our base experiences of space and travels through the history of spatial thought, offering his own theories as the book progresses. The book offers an insight into the basis of space and how to understand further our interactions with it.
Salò, or 120 Days of Sodom 1975, motion picture, Les Productions Artistes Associés (United Artists), France. Based on novel of the same name by the Marquis de Sade, is an Italian film, written and directed by prolific Italian director Pier Paolo Pasolini. The film is divided into four segments based upon Dantes Inferno: Aneinferno, the Circle of Manias, the Circle of Shit and the Circle of Blood. Pasolini was murdered shortly before the film was released. The film was extremely controversial when it was released due to the extreme sexual and violent graphic scenes. It is banned in many countries, and is still banned in Australia if it is not presented with the additional three hours of documentary footage, explaining the artistic merit of the film. The film transposed the story into Mussolini’s Italy and focuses on four fascist libertines who kidnap eighteen teenage girls and boys, who they subject to sadism, torture, violence and mental torture and eventually murder. The film explores the key themes of fascism, corruption of power, perversion and sexuality.
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San Rocco Journal, Vol. 5 Fall 2012 ‘Scary Architects’, This edition of the Italian published San Rocco Journal explores violence within architecture from an alternative perspective. The violence explored is the inherent violence architects impose on site and surroundings by any acts of building and construction. Submitted articles range from failed architectural interventions to historical examples of ‘violent’ architecture. While offering an alternative view on violent architecture, I feel that some of the conclusions they draw are a bit of a stretch.
Cosmo Jarvis, Maxine (music video clip), YouTube, 2008. (accessed 3rd March, 2014) This YouTube released music video by British musician Cosmo Jarvis tells the story of a mans obsessive relationship, slaking and eventual murder of the eponymous Maxine. The video clip cuts between point-of-view perspective (POV) from Maxine and home-footage style shots of the artist obsessing over the girl. The clip, with over 150000 views, explores a masculine perspective of sexual violence, glorifying it for a young audience. Comments from viewers range from the disgusted to enthralled.
George Bataille, Eroticism, Penguin [London], 2012 (France 1957). George Bataille, a librarian by trade, was one of the first intellectual figures to delve into eroticism in a philosophical manner. A contemporary of Lacan, he has influenced many authors from Foucault to Derrida. Bataille is primarily engaged with the idea of mortality and its link with the erotic. Particularly the function of eroticism as a means to experience mortality, or the orgasm as a means of reaching the point of death without actually experiencing death (the limitexperience). The book is divided into two main parts, the first a study into the roots of the erotic in literature, religion and sociology, the second an exploration of writers and theorists on the erotic, beginning at the Marquis de Sade, and ending with Kinsey. Through his writings he advocates the transgression of taboos to enrich the human experience.
Bechir Kenzari (ed), Architecture and Violence, Actar (Barcelona), 2011. This collection of essays, compiled by Kenzari, is an examination into violence and architecture. This link, as Kenzari examines in his introduction, is a link that is ever present in architecture as an inescapable occurrence. He suggests that the very act of making architecture is a violent act towards nature, within which many other violent acts occur. Each writer in the collection was allowed creative freedom as to how to interpret the relationship between architecture and 44
Annotated Bibliography
violence. The following two essays I find the most informative in the formation of this thesis.
Elie Haddad, Architecture as Exquisite Violence Haddad, in this short essay explored the nightclub ‘B-018’ in Lebanon. The nightclub was built on the site of on old concentration camp. Inset into the ground the architect, Bernard Khoury, juxtaposes the erotic violence of the nightclub and the memory of the physical violence that existed on the site. Haddad examines the spatial tricks and methods used by the architect to harmonise the two readings of the site. Haddad uses George Batailles theory of transgression in an attempt to theorise the erotic and death in the project.
Dorita Hannah, Towards an “Architecture of Cruelty”: Mining the Spatial Speech of Antonin Artaud Dorita Hannah is an architect, set designer and theatre consultant; she curated the design segment of the exhibition of the Prague Quadrennial of Scenography in 2003. In this essay, Hannah explored the loaded spatial language of Antonin Artaud and ‘mines’ it for applicable terms in relationship to architecture and the built environment. While sometimes taking a literal approach, Hannah uses the terrorist attack on the Dubrovka Theatre to frame her analysis.
Querelle, 1982, motion picture, Gaumont S.A. [Paris], France. Rainer Werner Fassbinders final film, this Avant-guard West German tale is an adaptation of the novel ‘Querelle de Brest’ by Jean Genet. The film tells the story of a murderous sailor, Querelle, and his relationship with a brothel at port. The film deals with homosexual eroticism and violence and explores themes of desire as the driving force of the protagonist’s life. Sexuallity and power are the main themes of the film, Querelle using his sexuality to ‘entice’ all of those around him, including his brother who he is having an incestuous relationship with. Fassbinders final film was released posthumously to mixed criticism. Aesthetically, the film draws influence from the illustrations of Tom of Finland and French duo Pierre et Gilles, and contemporary queer art.
Gordana Fontana-Giusti, Foucault for Architects, Routledge (Oxon), 2013. Written by architect Gordana Fontana-Giusti, this small reading companion has been written to allow an easy entry point to acessing Foucaults prolific body of work. The book has been divided into five segments. The first gives an overview of Foucaults life, and places his work into a historical context. The remaining chapters explore his key works in greater depth, grouped by theme: Archeology; Enclosure; Bodies; and Spaciality/Aesthetics.
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Diller + Scofidio, Flesh1: architectural probes, Architectural Press (New York), 1994.
Princeton
Flesh, by Elizabeth Diller and Richard Scofidio, primarily engages with the body in space, and the bodies visceral interaction with its surrounds. The text is the third publication from the studio, and is essentially a retrospective of works, from architectural to artistic interventions. The text examines through poetic text and large glossy images, while sometimes hard to follow, gives an overview into how to access the work and understand their unique take on gender, body and space.
Guido Incerti, Daria Ricchi & Deane Simpson, Diller + Scofidio (+ Renfro). The Ciliary Function, Skira Editore (Milan), 2007. This work is considered the defining retrospective of Diller +Scofidio + Renfro’s practice. The text, with accompanying DVD gives a brief introduction to each major project and places in contextually in the firms body of work. Their work, as explored out previously in Flesh, focuses on the body and its relationship to space, and increasingly, technology.
Elizabeth Grosz, Volatile Bodies: toward a corporeal feminism, Indiana University Press (Indianapolis), 1994. The text, is primarily a feminist text, however, it discussed greater issues relating to the body in space. Grosz subverts traditional thinking on the subject, such as Foucault, Lacan and Deluze, commenting on their lack of understanding of space from a female perspective. The text discusses the relation to the body and mind to the experience of space, and that the sexual experience is socially constructed, and is neither in conflict nor compliance with nature.
Current Reading List Marcia Feuerstein & Gray Read (ed), Architecture as a Performing Art, Ashgate (2013). Josephine Machon, Immersive Theatres: Intimacy and Immediacy in Contemporary Performance, Palgrave Macmillan (London), 2013.
Future Reading List Michel Foucault, The History of Sexuality: Volume I, Penguin [London], 2008 (1978). Bret Eason Ellis, American Psycho, Vintage Books [New York], 1991. 46
Annotated Bibliography
Pierre et Gilles, Pierre et Gilles, double je, 1976-2007, Taschen [Cologne], 2007. Bernard Tschumi, Architecture and Disjunction, The MIT Press [Massachusetts], 1994. C. de Zegher & M. Wigley Ed. The Activist Drawing: Retracing Situationalist Architectures from Constant’s New Babylon to Beyond, The MIT Press [Massachusetts], 2001 [1999]. Gabriella Giannachi & Nick Kaye, Performing Presence: Between the Live and Simulated, Manchester University Press [Manchester], 2011. Gyan Prakash Ed. Noir Urbanisms: Dystopic Images of the Modern City, Princeton University Press [Oxfordshire], 2010. Jane Jacobs, The Death and Life of Great American Cities, Harmondsworth [Middlesex], 1975 [1961]. P. Schöning, J. Löffler & R. Azevedo Ed. Cinematic Architecture, Architecture Association Press [London], 2009.
Readings Mentioned From Other Readings Allen Ginsberg, Howl Patti Smith, Patti Smith Complete Yoko Ono, Grapefruit Yoko Ono, The Other Rooms Theatre & Sexuality Michel Foucault, Dicipline and Punish Patrick Anderson & Jisha Menon, Violence Performed Jenny Hughes, Performance in a time of Terror Phillip Ridley, Mercury Fur Büchner, Woyzeck Sarah Kane, Phaedras Love Sarah Kane, Blasted Adriana Cavarero, Horrorism Hand and Wilson, Grand-Guignol: The French Theatre of Horror Bond, On Violence [Essay] Baz Kershaw, The Radical in Performance Bertold Brecht, Brecht on Theatre Bertold Brecht, The Beggars Opera Walter Benjamin, Critique of Violence Helen Garner, The First Stone Sophoclese, Oedipus Rex Ford, Tis’ Pity shes a Whore Voltaire, Candide Robert Smith – 296301
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