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Tower of Silence of the site, specifically to the history of the monks who once lived a life of silence Mary. In it I planted 30 fabricated roses with audio speakers hidden in the center. and the performers at the perform- ance, at all that is referenced and at This was a 49 minute, site specific per- there. I used silence and prayer as a ref- The cables were hidden underground and they themselves have come to repre- formance work for 2 vocalists, 5 perform- erence to the political and social power of run to a sound system. At the beginning sent. ers and pre-recorded audio tape and a voice. The letter H is often a silent letter of the performance I walked through the I began the performance at the garden of 30 fabricated laughing roses. It in several languages. The tower was built garden touching the roses and they start- top of the tower where I kissed the was performed on a 36 foot tower in the of scaffolding and the performance por- ed to laugh and continued to laugh cheek of one of the 2 angels that are shape of the letter H. The site of the per- trayed a counter movement of climbing throughout the performance except for a in the alcoves at the top of the ruins. formance was the ruins of the Trappist and descending in relation to the archi- 4 minute period of silence in Song 6. The I climbed down and began to dig a Monastary that is located on the grounds tecture. laughter of the roses provides a subver- hole into the earth with a shovel and of the St. Norbert Arts and Cultural In front of the tower was a circular sive backdrop. Women’s laughter is pres- a pick axe. I dug throughout the per- Centre. The performance was a reaction garden dedicated to the blessed Virgin ent. The roses laugh with the audience formance . The audio and live vocals were structured around 7 songs and at the beginning of each song some- one on the bridge of the H poured a bucket of water down on me as I dug. The 4 performers had begun the per- formance down at the river and when the audio started they filed 5 buckets with water and walked up the hill to the site. They watered the Laughing Roses with one of the buckets and carried the other 4 up to the bridge of the H. Two other performers climbed to the top of each side of the H and began to drag the red ladders to the top. Two other performers climbed continuously up and down the tower. On the right side, Lori Freedman was climbing and Diana Campanaro was hauling the ladder up to the top and then letting it go and hauling it up again. Both were working fast, determined and unceasing. On the other side Kim Truchan was climbing the tower. She was slow, strained, and interrupted with falling and stum- bling back to the ground. She knocked on doors and climbed and fell through the doors and windows that were located at various levels on her side of the tower.. Debbie Patterson was at the top hauling the ladder up. She struggled for a few moments and then tied the rope of f leaving the ladder hanging against the H. She would step to the micro- phone and to assist with the live cvo- cals and then return to her laboured task. Joining the two sides was a bridge across the H where the lead vocalist Kathleen Yearwood stood and sang in relationship with the pre- recorded audio tape.
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