Introduction to Performance |
1101 (001) |
Vanessa Damilola Macaulay |
Wed
9:00 AM - 3:00 PM
In Person
|
Description
This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.
|
Class Number
1502
|
Credits
3
|
Department
Performance
Area of Study
Gender and Sexuality
Location
280 Building Rm 012
|
The Inadequate Body |
2004 (001) |
Sungjae Lee |
Thurs
3:30 PM - 9:15 PM
In Person
|
Description
This course interrogates the theory and practice of body based performance by exploring innovative ways of creating with, and thinking about the untrained body. The ethos of the course is to encourage students to question the function and boundaries of the body in performance and everyday life. What happens when the body can't go on, but must go on? Through a series of intensive workshops and discussions, students will interrogate and redefine notions such as control, virtuosity, discipline, stamina and skill to establish the parameters of what a body is unable physically to do or signify, and how may this failure be used for other ends.
|
Class Number
2050
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012
|
Self(ish): The Fantasy of Autobiographical Performance |
2008 (001) |
Vanessa Damilola Macaulay |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
Throughout the course, we will engage deeply with themes of the 'self', exploring the 'I' in the world. Autobiography in performance can encourage self-reflection, creation, and the exploration of one¿s identity as it changes; it also allows us to imagine who we might become in the future. While using personal experience as a starting point, it is essential to forge some distance between yourself and the work when working with autobiographical material. Therefore, students will engage with the self-ish, exploring the interplay between fact/fiction, personal/political, and real/imagined. Autobiographical performance art validates the intersectionality of multiple identities through experimentation with the meanings of identity labels and the potential discovery of ways they intersect, separate, and coincide with race, gender, class, sexuality, and ability. Throughout the course, we will explore the various modes artists have utilized autobiography. An example of the artists we will examine below: Greg Wohead, Bill T Jones,Bryony Kiimmings, Selina Thompson, Zanele Muholi, Lina Iris Viktor and Lizz Aggiss. Alongside the artistic case studies, the key texts for this course include: Bruno, S. and Dixon, L. 2014. Creating Solo Performance (Oxon & New York, Routledge); Heddon, D. 2008. Autobiography and Performance (Basingstoke, Palgrave Macmillan); Cavarero, Adriana. 2000. Relating Narratives: Storytelling and Selfhood (Oxon and New York: Routledge); Johnson, J. 2017. Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (New Brunswick, Camden and Newark, New Jersey and London: Rutgers University Press). Course work will vary but typically includes weekly performance responses in the form of studio labs, a mid-term proposal, and a solo final project.
|
Class Number
2053
|
Credits
3
|
Department
Performance
Area of Study
Class, Race, Ethnicity, Playwriting/Screenwriting, Public Space, Site, Landscape
Location
MacLean 2M
|
BODY POSITIVE |
2900 (051) |
Anna Martine Whitehead |
Mon
12:15 PM - 3:00 PM
In Person
|
Description
What does one¿s emergent creative practice have to do with one¿s body in the world? How do we maintain the resilience and vulnerability required of artists and art students when we already feel so vulnerable in our everyday lives? How, as audiences and community members, do we share and receive feedback generously while still honoring our own lived experiences?
This course offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. While the focus of this course will be on both embodied practices and the politics of having a body, it is open to all disciplines and areas of study. Through studio assignments, readings, viewings, and writing projects, students will generate a clearer understanding about how and why they make art, and how to continue making their work authentically.
Prerequisites
Prerequisite: Must be a sophomore to enroll.
|
Class Number
2052
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012A
|
Material Actions |
3018 (001) |
Ginger Krebs |
Wed
9:00 AM - 3:00 PM
In Person
|
Description
Artists have interacted privately and publicly in a variety of performative forms with 'stuff' such as food, sculptures, costumes, found objects, natural materials and mass-produced objects. This course investigates the ways in which material can be at the center of performance works. Through a series of assignments, students research materials from scientific, historical, phenomenological, metaphoric, symbolic, sociological and political perspectives; and produce personal and collaborative pieces in a variety of sites and settings.
|
Class Number
1508
|
Credits
3
|
Department
Performance
Location
MacLean 2M
|
Without Walls - Puppetry In the Outdoors |
3031 (002) |
Blair Thomas |
Fri
9:00 AM - 3:00 PM
In Person
|
Description
Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.
|
Class Number
1509
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012
|
Expanded Line |
3039 (001) |
Jonas Müller-Ahlheim, Camille Casemier Johnson |
Sat
10:00 AM - 4:00 PM
In Person
|
Description
This course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.
|
Class Number
2338
|
Credits
3
|
Department
Performance
Area of Study
Community & Social Engagement, Public Space, Site, Landscape
Location
280 Building Rm 012
|
Expanded Line |
3039 (001) |
Jonas Müller-Ahlheim, Camille Casemier Johnson |
Sat
10:00 AM - 4:00 PM
In Person
|
Description
This course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.
|
Class Number
2338
|
Credits
3
|
Department
Performance
Area of Study
Community & Social Engagement, Public Space, Site, Landscape
Location
280 Building Rm 012
|
Professional Performance Practice |
3900 (001) |
Joseph Ravens/Rabensdorf |
Thurs
12:15 PM - 3:00 PM
In Person
|
Description
How does a performance artist create a sustainable career and create a sustainable community in the world after college? This course will provide the nuts and bolts of how to build a career as a performance artist. We will delve into the politics of curating and representing diverse practices. Students will create their own public performance festivals in public or in site-specific spaces learning the mechanisms of getting funding and writing proposals.
Prerequisites
Prerequisite: 2900 course
|
Class Number
1583
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012A
|
PS:Cabaret: Innovation, Resistance, Transformation |
4005 (001) |
Erica R. Mott |
Mon
9:00 AM - 3:00 PM
In Person
|
Description
This course delves into cabaret as a provocative and dynamic form of performance art, tracing its origins from 19th-century Paris to today¿s global reinterpretations. Through examining cabaret's evolution¿its roots in political satire, subversion, and social critique¿we will explore how cabaret has influenced theater, music, and performance art across diverse cultural landscapes. We¿ll analyze iconic works from the Weimar era, drag cabaret, and modern-day immersive performances, pairing discussions with hands-on workshops in storytelling, sound, movement, and improvisation. This course invites students to craft their own performance pieces, embodying cabaret's spirit of innovation, resistance, and transformation.
|
Class Number
1503
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012
|
PS:Human & Animal |
4005 (002) |
Laleh Motlagh |
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This class explores the intersection between performance and animal studies, exploring issues of ethics and exploitation in relation to living bodies of all forms. We will use a series of documents of performance artists and animals as jumping off points to consider our experience and understanding of language and space, presence and perception, instinct and empathy. We will consider the intimacy and potentially transgressive behaviors of the solo artist and the domestic animal: Carolee Schneeman and her cats, Ange Bartram and her dog. We will also interrogate the images and notions of the untamed and the untrained from Joseph Beuys coyote to La Monte Young's compositions that included 'any number of butterflies'. The use of the animal as material will also be explored, from the anonymous open carcasses used by the Viennese Actionists to the consumption of animal derived food as performative act. We will cover broad questions of spectatorship and participation from the theater and the zoo to the abattoir, as well as histories of animal impersonation from the trickster to the nativity play donkey and the pantomime horse. This class will culminate in a day long conference to which students may contribute lectures, performances, videos, papers or other negotiable forms.
|
Class Number
1504
|
Credits
3
|
Department
Performance
Location
280 Building Rm 012
|
Performing Acts of Kindness |
4900 (001) |
Mark Jeffery |
Mon
9:00 AM - 3:00 PM
In Person
|
Description
How do we perform acts of kindness for our communities and ourselves? What does and can, kindness and care look like as an act and actions of expanded performance. How do we create and cultivate practices of everyday life that shift and transform? What inspires a stranger to be kind to another? What motivates someone to step out of their bubble and go out of their way to help a person they don¿t know? This Capstone class will create unconventional collaborations inside and outside of SAIC, considering careful and caring ways to work with each other and other members of our community in the city of Chicago. People we will look at in this course include William Kentridge, Doris Salcedo, Carrie Mae Weems. Michael Landy, Christine Sun Kim, Tania Bruguera, Catherine Sullivan. Podcasts On Being, Hidden Brain, and writings of Katherine May, Sharon Brous, Lisa Samuels and Early AIDS Epidemic Nurses Ellen Matzer and Valery Hughes. We will also work with AIDS Foundation Chicago and Howard Brown Health Centre. Coursework will include: 1. Present a proposal with your CAPSTONE intentions that considers models of kindness and actions of self and others in the community 2. Complete a focused body of work that is presented at Howard Brown Health Centre or AIDS Foundation Chicago 3. Develop exit strategies for how to sustain a practice outside of the institute through public community engagements.
Prerequisites
Prerequisite: 3900 course
|
Class Number
2352
|
Credits
3
|
Department
Performance
Area of Study
Class, Race, Ethnicity, Community & Social Engagement, Gender and Sexuality
Location
MacLean 2M
|