Presented in an old train station, Wisselspoor, in Utrecht, The Netherlands, "The Girl Who Floated Up", was a live performance featuring an egg-frying, cola-pouring Me, alongside a soundscape. The soundscape featured amplifications of found sounds and spoken word along with original music.
Photos by Studio Lea Groeliker
Does Anybody Have a Lemon?
Performance, Utrecht, June 2016.
"Does Anybody Have a Lemon?" was created with artist Astrid Bode (Belgium). It was accompanied by a voice recording addressing the spectator and giving voice to the speakers existential boredom.
Get Me Outta Here
Installation, October 2016.
"Get Me Outta Here" was created with Astrid Bode (Belgium). It was one of a series of investigations into live discombobulated presence.
This compilation shows moments of improvisation during the working process of Britt and Astrid Bode (Belgium).
Digital Images, 2016.
The photo series captures and contrasts mundane scenery with saturated colour as an ode to the memory of last night's rave. The neon colours provide an escape from the surroundings.
PL #5 The Girl Who Floated Up
Performance lecture in personal studio, Utrecht, December 2016.
PL #5 examined process and progress of research while introducing the plan to create several "mediated monsters" to be used as vessels for recorded material and voices.
music coming soon...
I Stopped Wearing Perfume The Day That You Died I Smell Like Your Hand On My Cheek
I Made This For Someone I Love.
Magazine page, Permanent Marker, November 2016.
Part of a series of "ready mades", the piece existed as a sort of label to a tall cupboard attempting to draw a connection between the feeling of the door in the user's hand with the touch of hand on cheek experienced by the writer.
Song Of Myself
Theatre performance as part of Taking Flight Festival, Reeve Theatre, April 2014.
Creation/Direction/Costume/Set: Britt van Groningen
'Song of Myself' was a 40 minute piece created by Britt and the ensemble using the poetry of Walt Whitman's 'Leaves of Grass'.
'Rolly Polly' is a piece of writing by Britt at the basis of a current exploration.
A Dinner Party``
'A Dinner Party' is a current exploration in artistic research I have embarked on with my DRAMA460 Class at the University of Calgary.
We have been tasked with documenting our process.
I'm choosing a stream of consciousness type reflection method. A collection of quotations, images, and day dreams.
Mixed and mashed.
Picture: Voting on the concepts/questions we want to explore in our piece.
As a side note, in the classroom (right side of picture) is a plaque In Memorian of Kathleen Foreman. Kathleen was my first acting teacher at the University of Calgary, and her influence on me profound.
Based on our explorations this semester our piece requires:
1. AN INVITATION to the spectator into the action as an agent of the piece. (ideas of configuration, placing in space, inviting “to the table”, engulfing, involving them). How do we invite them to see our research? Do they need a pamphlet or programs to orient themselves? Do we tell them all the options we came up with and show them the one we “chose” to show them? What is useful for them to know going into the experience. Assignment on Monday during class, with table
2. “MANIFESTO”. You, yourself in the performative (no character!) What do you as an individual “bring to the table”. Assignment for Wednesday:
I am asking you to create a moment, or a possibility of a moment, within our classes Dinner party. You will structure this moment as a task for your fellow students during five minutes, wednesday. Bring an object, material, ect- think of techniques we used through out the semester, exercises or a moment grabbed from your Manifesto, most importantly, make it specific, relate it to your individual interest. Watch carefully how your classmates respond to your given exercise, take notes, record their actions, for Monday, create a sequence from the material 30seconds-1minute. This is your individual moment of curatorship.
3. TIME-Duration. Playing with moments that manipulate the spectators experience of time. Possible assignment for next Monday: play with the duration of your chosen moment or sequence that you have incorporated from what you saw your classmates do in response to the exercise you created. Then we move into blending, how do these chosen sequences support, contradict, or blend into each other instead of staccato individual moments in time. What space can we create through layering.
4. HIDDEN SPACE. “What can a dinner party become?” “What are our expectations of a dinner party, and how can we play with it’s ambiguity (potential hiddenness). Where is this dinner party taking place in the Reeve? How are we drawing on very specific aspects of the space and avoiding or embracing the status quo of the how space is used.
"Tango" by Zbigniew Rybczyński, 1980
Watching our latest experiments, inviting spectators to a table in different ways, experimenting with ways to 'leave' has me thinking of this wonderful piece by Zbigniew Rybczynski. How can we change the space individually and as an ensemble? I am fascinated by repetitions, something discovered in another exercise we did as a class focusing on duration.
"The work invites the viewer to join the artist as a fellow traveller..."
A good friend invited me to this event in Groningen. I was saddened of course that I couldn't make it but smiled at how applicable it was to this current process. Looking at the event, I think the way it is structured is very important. Being able to see a series of work examining the issue of the thin line between performance art and performing arts, followed by a series of lectures.
Simply viewing the event, I now have some artists and lecturers to research. I will be happy to connect with my friend to discuss the event.
As a group and as a school I think this performance art vs performing art topic is a very contemporary issue that demands notice. I think we need to strive to be clear in our rhetoric.
We talked briefly in class about the important of using language properly. Knowing what we mean by "seeing" by "performing" by "spectator" by "performance art" by "inviting" by "proximity", "duration" and "being".
...what matters isn't fame, isn't glamour, not the things I dream of, BUT THE CAPACITY TO ENDURE.
Today I'm day dreaming about what Nina would think of this all...
WWND. Would she be intoxicated with this way of being on stage? Would she want to be a performer? Would she think it's all rubbish?
Remembering the classes personal manifestos, recognising remnants, whispers- that which remains of them.
According to the DAS feedback method, it is pivotal to structure the way feedback is given to you. It is important as makers we formulate questions about our work that we have, especially while things are in process. I am always wondering when appropriate times are to bring in an audience. I think we should have invited audience members into our process earlier on, to get us used to the proximity and configuration. Of course using friends and classmates is something completely different than outside audience. Will people sit at the table? Will they snuggle in? Will they keep their distance? Why? What is it about a performing body that can be so terrifying.
When Showing in Process
We discuss showing a piece in process, when to let an audience in. We are bound by certain restrictions, as per usual. We will not be working on this piece any further, but that does not mean that it still cannot have been a part of a personal process of discovery or process.
I'm dreaming of possible futures.
What worked for me was the two long tables.
What worked for me was different levels and layers.
What worked for me was this experiment into spectator performer proximity.
I think I need more theatricality in the lighting as we seat participants.
I think I need more stillness and silence.
I think I need a limited number of audience participants.
I want the audience to share a meal with us.
I want the audience to touch things, to collide with the objects.