Posts by lizavetaslinko
The Lingerie Family
Frank Holiday’s piece “The Lingerie Family” intrigued me the most out of any painting in the exhibit. Its disorienting swirl of color and form coupled with unsettling imagery to create an unsettling mood. It seems to be very ominous, with the depictions of a bleeding finger, a mysterious hand winding up the central figure like a toy, and the uncanny appearances of the subjects. The people are disproportional, and some of the figures in the background resemble skeletons and appear to be closer to creatures than humans. But most disconcerting of all is the digital eye blinking and twitching, appearing to take in the room around it and its visitors. It seems to me that the family is the three characters in the foreground; the man with the beard is the father, the woman in lingerie is the mother, and the person in the onesie is the child. These outlandish costumes, gaudy figures, and bright colors reflect the brazen, shameless atmosphere of Club 57, which served as an accommodating space for people who wanted to push the limits of what society considered proper dress and behavior. This painting also shows how film and fine art converged during the time period it was created, the 1970s-1980s. The static canvas painting is combined with a video recording and contrasts the abstract, exaggerated forms with an image of a real eye. Along the walls of the exhibit were several other paintings, and in the very center a film was being played on a screen. Holiday’s piece was placed both near the paintings and the film, so their convergence is made even more obvious. I also found the distinction between the foreground and the background to be interesting; the artist added blue to the figures in the back so they would fade behind the three central characters. To make them stand out, he used bright colors that were not distributed to the background characters.
M. Butterfly
I found the most intriguing part of the performance to be Song’s character, which wove together traits often categorized as opposites. He achieved a balance between female gentility and masculine dominance in both his appearance and role in his relationship with Gallimard. He was rather broad-shouldered, with a strong jaw, but his voice was sweet and his movements graceful. He spoke calmly even as he dissed Gallimard, the tone was gentle but the words were biting. In their dynamic, he affected a submissive personality, when in reality he had the control. The delicate clothing he wore disguised his more brash personality, which was revealed in all its “male” crudeness at the court hearing towards the end of the play. All of these contradictions were found in one character, and their amalgamation was not sloppy or badly portrayed. Rather, Song’s embodiment of both genders evoked some of the most interesting questions in the play, such as sparking the debate of what Gallimard’s sexuality could have been. It is the interaction between genders that is central to the plot of the play, in that the masculine west has historically treated the female east as a conquest begging for domination. I also found it contradictory when at the end of the play, it is revealed that Song really did fall in love with Gallimard, a man whom he referred to as being an imperialist, the very thing he hated.
An aspect of the play that surprised me the most, other than the sudden nudity, was the sudden communism. It was a loud, colorful spectacle of communist revolutionaries en pointe and the many faces of Mao Zedong staring back at you. Part of me found it funny, in all its extravagant ridiculousness, but I also understood the gravity of this scene. The performances of the Chinese opera were replaced with these new versions of entertainment; in fact the traditional dancing from the beginning of the play was mirrored in the dancing of the Chinese revolutionaries.
Coney Island in November
For our second visit to the site, our group chose to go during a time when the space would be the most active, which was on a Saturday at one o’clock. Unluckily, that day the temperature decided to drop which negatively impacted the number of people who came to visit the park. Because of this, the majority of rides and stores remained closed, although the parks advertised that they would be open on their websites. Despite the low turnout, we saw more people this time around than the first time we visited, when the entire area looked deserted. We were still able to capture people on film, so our video will portray the interactions that visitors have with the space. For example, we were able to get footage of people zipping about in bumper cars, which successfully shows the liveliness of the location and offers a glimpse of what it looks like in a busier time, like the summer. This is important to the theme of our project, which partly deals with the impact of times and seasons on the atmosphere of a space. We were also able to get footage inside the arcade, and the flashing lights of the games and the blaring music further emphasized the energetic qualities of the location, however this vibrancy stood in contrast with the emptiness of the arcade itself. In summer, the place would be jam-packed with people, talking animatedly and competing for prizes. But on this chilly Saturday, the arcade was barren of people. There was a strange contrast between the activity of the bright screens and flashing lights and the emptiness of the space.
My photograph also captures this concept, in that the featured rollercoaster (The Thunderbolt) is shut down; silent and empty of the people that give it its purpose. This photo is also significant in that it depicts the dichotomy between the rollercoaster and the adjacent patch of grass. This theme of man and nature clashing with one another is one that is apparent in Coney Island; for example, the beach clashes with the boardwalk and amusement parks. This natural environment has become industrialized and commercialized, and this is another concept which we may explore in our final video.
The Clash of History with the Modern Age
Coney Island has always inspired a feeling of nostalgia for me; like I’d stepped backwards in time and ended up in some twilight zone where the world couldn’t decide if it wanted to move on or stand still. Passing by the old murals by the freak show and gazing up at the coney island hotel gives us a glimpse of what visitors saw and admired decades ago; its jarring to see the Wonder Wheel and know that people have been riding it since 1918. This disconnect between the past and the present is further amplified when you juxtapose the shiny, brightly lit modern rides of Luna Park with the older, less technologically enhanced amusements of Deno’s amusement park just next door. In this photograph, that dichotomy is clear. The Luna 360 stands polished and saturated across from the older and more muted Wonder Wheel. Its colors have dulled over time, and its old-fashioned design recalls a period when it was considered an example of the latest technological innovation. The photograph was taken around ten o’clock on a Sunday morning, so the rides stood deserted in the silence. The only people that were there were the park workers, and us. Occasionally, the sound of air compression from the rides would disturb the still air of the park. It was eerie, to see a place so colorful and fun be separated from the bustle of people and motion that it was meant to be in. I found that I enjoyed having the space to myself; being able to take in everything without distraction was an experience I’d never had at an amusement park. Seeing that space dead-quiet on a crisp Sunday morning made me feel an interesting sort of detachment from the reality of the commitments and responsibilities I had back home, because in that moment they didn’t exist. I was in a separate time, in a separate place where there was no such thing as a midterm paper.
1996 Production of Buried Child
The 1996 production on Buried Child added a new dimension to Sam Shepherd’s play, in that the printed words from the dialogue were brought to life with the employment of human expression and body language. The characters were given faces, and their conversations were given voice. When the play began with the scene between Hallie and Dodge, my first thought was that their voices annoyed me. The grating yelling of Hallie accompanied by Dodge’s hoarse cough-laden speech made me grind my teeth; I did not experience such strong emotions when I was reading the script in my head. I pictured small things individually, as they were described in the stage directions, but I realized when taking in the entirety of the stage that my imaginings were not vivid enough. Little things like a hole in the blanket would catch my attention suddenly, and this served to further cement me in the moment; it drew me into the scene in a way that the script couldn’t. Intonations in the language were not something I considered very much when reading the dialogue, but when they were present in the play I understood that they added vibrancy to the story and further distinguished the characters in my mind. Their personalities were amplified through facial expressions and bodily mannerisms, and my interpretations on the personas described in the script became clearer. Tilden was the one who affected me the most with his facial expressions, I felt that out of all the other characters his eyes held the most emotion. Their distant, glazed look emphasized his muddled mental state, which I felt made his lines more powerful as he delivered them. It was also the noises on the stage that added life to the script; the banging of the doors, the sounds of Bradley’s Heavy prosthetic leg stomping about, and the movements up and down the stairs all made the fake set look lived in. The addition of all these elements filled in the spaces between the lines of the dialogue, and gave a more concrete image to the concept of “family.”
“Café Müller”/ “Rite of Spring”
Pina Bausch’s “Café Müller” and “Rite of Spring” both utilize the relationship between the human body and its surroundings to convey stories through movement. The pliable nature of the body as a medium is exploited, in that movements are shifted in ways which cause feelings such as tension and panic to arise within the audience members. For example, in “Café Müller” Bausch applies repetition to the motions carried out by the dancers, and in doing so she builds suspense and anxiety. These emotions become amplified as the performance nears its end, when the man and the woman fling each other against the walls of the set violently. In “Rite of Spring,” Bausch employs more traditional choreography, but only to an extent. The movements of her dancers border on chaotic, but never completely devolve into madness as they do in “Café Müller.” In both performances, the set is integrated into the choreography. In “Rite of Spring,” the stage is covered in a layer of dirt, which covers the dancers and is disturbed by their motions. I believe that it also plays a critical role in imagery, representing rebirth and growth which are both traditional associations with springtime. In “Café Müller,” the set is what appears to be a cafeteria in a mental hospital and is covered with tables and chairs. These props frequently collide with the dancers, and are moved around throughout the performance. In the beginning of the dance, we are introduced to a female character in a long white nightgown as she staggers across the stage. She appears to be sleepwalking, and bumps into the chairs and tables in her way. At this point, a man enters the stage and begins moving the props out of the woman’s way before she collides with them. I believe that these objects might represent obstacles in life, and that the man’s efforts to eliminate them from the woman’s path represents his role in the relationship as a protector who responds to her vulnerability and dependence. Both performances are difficult to interpret, “Café Müller” more so than “Rite of Spring.” However, based upon the push-pull interactions between characters I observe that the performance is based on expectations that we have for our relationships with each other and the changes that they shift through. Throughout the dance, the male and female leads act as lovers shifting from holding tightly to each other, to separation, and finally to violent collision. “Rite of Spring” creates a clear divide between the two genders not only in their costumes, but also in their body language and sexually charged dancing. The women cower as they are approached by the men, and are sometimes chased and throw about the stage. The excited dancing and loud exhales from the dancers inspire a sense of panic, which is further accelerated when the dancers run about frantically and hug each other. A dress is passed down from one girl to another, and it appears that the men are singling out and choosing girls.
NYC Underwater
Man and nature have long been thought to be adversaries, caught in a continuous struggle for dominance over the landscape in which they exist. Yet, they persist in harmony together along the tracks of the High Line. This paradoxical state appeals to observers with its uncanny marriage of two dualities, and entices us to consider how two chaotic forces that are so different can coexist as one entity. This image is a physical embodiment of that question, compelling the viewer to examine such possibilities in depth. There is a clearly defined clash between the natural and manufactured, very literally split in two by a glare of light. The bottom half of the photo is drowned in murky green water, turning what once was a bustling New York City street into a lake. This could be thought of as the re-appearance of nature in the urban space, much like the evolution of the train tracks from a synthetic man made structure to a park bursting with greenery. Both spaces still retain their old metallic and concrete elements, yet now they also share their areas with more organic components. The water does not fill the entirety of the space in the image, once again portraying the concept of compromise by allowing the upper half of the photo to remain as it was. In making such allowances for each other’s existence, nature and man have found a way to live together. This principal can also be applied to New York itself. We are a melting pot of different cultures who now have to learn to live with each other, and this endeavor has been something we’ve been struggling to achieve for decades. Yet, the High Line shows that coexistence is a possible and worthy goal, which if accomplished can result in something beautiful that we can all appreciate.
Comments by lizavetaslinko
"This was also my favorite part of the exhibit, and I recall not ever wanting to step out of that trippy environment. I loved the artists use of neon paint and blacklight, which was popular in the 1970s-1980s. The different textures and various objects were also interesting, I recall seeing a string of skulls and various monster masks hanging from the ceiling or along the walls. Other than that, there was a disco ball and a doll house. I can see how taking a psychedelic in that room would really mess with someone's perception of reality."
--( posted on Dec 4, 2017, commenting on the post
Club 57 )
"I agree with you on the point about the breaking of the fourth wall; I felt that this made the play easier to connect to and made the audience participants in the action rather than just observers. I also felt that the set was dynamic, in that the design allowed for flexibility in changing from scene to scene. I think the panels were simple, but utilized in a clever way throughout the performance. They were easy to maneuver and helped the settings change smoothly. I also noticed that the hanging lamps were used to influence the setting in a similar way to the panels, oftentimes these set pieces worked together to create an atmosphere. For example, in the very beginning the lamp was used for dramatic effect in Gallimard's prison cell, and served to illuminate the butterfly, foreshadowing the end of the play when we realize that it is Gallimard who is actually the butterfly."
--( posted on Nov 21, 2017, commenting on the post
M. Butterfly )
"I really like how you contrasted the Plaza Hotel with other structures in New York in saying that its architecture hails to an older time period, unlike the modernity of the glass buildings we usually see. It was clever to take footage of the molding around the room, because its details such as this that really emphasize the style of the space. I also like the relationship you explore between social class and architecture, and the analysis of which qualities something must have in order to be considered "elite." It was also interesting that you mentioned the sound of the piano, which is a detail that further adds to the elegance of the atmosphere of this location."
--( posted on Nov 6, 2017, commenting on the post
The Plaza Hotel )
"I find your analysis of the tram ride interesting in that you compared it with a subway ride; the former being slow and steady while the latter speeds ahead and often jostles your body. The experience of slowing down and appreciating the journey to your destination is something that many New Yorkers, including myself, tend not to worry about as we rush through our lives. Because of this, we often miss out on appreciating the wonderful architecture and diverse culture of the city surrounding us. We pass by these things everyday, and never really see them for what they are. I also agree with you on the symbolism of the bridge, in its connection of man with nature and the reminder to appreciate this dichotomy."
--( posted on Oct 24, 2017, commenting on the post
Site Visit #1 )
"I agree that the production brought Shepherd's characters to life, in that the addition of vocal intonations and physical movements gave the flat dialogue a new dimension. The lines are given more vibrancy when spoken out loud by real people, and doing this further develops our interpretations of the characters. The mannerisms that the actors choose to adapt when playing their characters strengthens their personalities, and makes the story appear more realistic. In this the physical set was also important, because it gave us a visual of the space in which the characters interacted with each other and their world."
--( posted on Oct 10, 2017, commenting on the post
Buried Child )
"I completely agree with your point about the incorporation of the chairs into the choreography of"Café Müller," in that they are meant to represent the dependent nature of the relationship between the man moving them and the woman colliding with them. In clearing her path, the man establishes his role as the protector who attempts to shield the vulnerable sleepwalker from getting hurt. I also like your point about the use of repetition in "Café Müller" which was meant to inspire feelings of confusion from the audience and build suspense. One observation which I found most interesting was what you wrote about the character Pina Bausch was meant to play. Throughout the performance, I would only occasionally glance at her character and so I didn't find anything noteworthy about her movements. However you point out that they were repeating the actions of the other sleepwalker, at a more lagging pace. I feel that this gives Bausch's character more significance in the performance than I originally thought she held."
--( posted on Sep 26, 2017, commenting on the post
Cafe Muller and The Rite of Spring )
"I agree with your analysis of the dichotomy between the natural and urban landscape of the High Line, and the ways in which it parallels the space of New York City itself. I found the struggle of man vs. nature an interesting topic; one which I focused my own post on. However, I specifically like the point you made about the colors of the photo; observing that they too represent the difficult balance between the synthetic and the natural. It intrigues me that a photograph of a simple ramp can be so laden with symbolism. I like that the focus of the photograph is the physical High Line itself, not just a sculpture on the ramp or a view outside the ramp. It shows that even on its own, the ramp itself is an art piece."
--( posted on Sep 12, 2017, commenting on the post
The Division Between the Natural and the Artifical )
