Presented at HKU Graduation Show, "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, 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 Image, 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 at HKU, 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.
'Rolly Polly' is a piece of writing by Britt at the basis of a current exploration.
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'.
I Stopped Wearing Perfume The Day That You Died I Smell Like Your Hand On My Cheek
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's grandfather.
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 conscious type reflection process.
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.