Monday, 7 March 2016

Jockeying for Dramaturgy: Aniela Piasecka and Paloma Proudfoot @ Buzzcut


Can you tell me a little bit about the work that you are bringing to Buzzcut?
The Jockey is a piece of work that has been in development since its inception to mark the end of Paloma's residency at Edinburgh Sculpture Workshop in June 2015. We had so much fun performing it that we decided to build it into a stand alone performance outside of its original exhibition context. We were inspired by the Carson McCullers short story of the same title and the eclectic newsagents of Leith, ideas of binging and falling from grace, and the power play between sportspeople and their coaches. 

What is it about Buzzcut that attracted you to perform as part of it?
We heard about Buzzcut through Glasgow friends who raved about its community, support, and craziness - we thought we'd like to be part of any festival that prioritised a community outlook and supportive environment alongside novelty and surprise.  

Do you see your work within any tradition - and are there any artists (performance and beyond) whom you regard as a peer or an influence?
We see our work as something in between the disciplines of dance, performance art and sculpture - it has elements of all three - we call our work together sculptural duets. We are influenced by so much work out there! But we want to see more 'underground' stuff, hence our interest in Buzzcut. 

How 'typical' is this work compared to other pieces that you have made? Did the process follow a familiar or new pattern?
It is typical in its aim to merge laughter with disgust. It also has an internal logic and narrative structure akin to previous works. However, it was the first piece that we made for the two of us to perform in. Normally we take a backstage role in our  work with the performance group Stasis as co-artistic directors. 


Buzzcut is concerned with the idea of 'community'. Does community have a special meaning for you, and what relationship do you feel your work has within wider communities?
Yes! Our work does not exist without collaboration and community means collaboration to us. Whether or not you realise it at the time, if you are working within a community, you are working collaboratively and everyone can benefit from these exchanges!

What are you hoping that the audience will experience?
Nausea perhaps?

Are there any strategies which you used to direct the audience experience towards this?
The use of foodstuff and the merging of 'natural' and 'mechanical' actions can be quite disturbing. 

What is it about performance that enticed you - and kept you making it?
Its immediacy - there is something so special about the instantaneous and dynamic relationship between performers and audience. 

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