Looking at what through performance, could push the limits of our body and minds.

Before we started this experiment, we were given an extract to read on by Marina Abramovic’s performance Nightsea Crossing which is a  durational piece that lasted for seven hours a day and was over a period of 90 days in variety of settings. In order for this performance to be successful, they had to get the right balance of equal personalities in order to create a piece that was meaningful to the both of them.

In this performance Marina and her college  devised a performance showing them exchanging air by locking their mouths and passing oxygen and carbon dioxide between each other.   They had only lasted for seventeen minutes and had collapsed because of their lungs being filled with carbon dioxide.

The spaces they used for the performance were in galleries and museums for seven hour days on the opening and closing times (10am – 5pm) of the galleries and museums.

The meaning behind this piece of performance is about experiencing the moment and connecting with the spectator. In this circumstance Marina and Ulay are sat on chairs, staring at each other, thus creating an atmosphere of energy that in-corporates the audience and making them aware that they are watching a performance.

In one of Marinas performance of Nightsea Crossing she invited the audience to take part and sit with her. This was part of her solo act. Here you were able to see some people get up and leave after a few minutes, whereas one audience member sat with her for the whole day. This brings to light, “the main interest…” in “the process of being sat motionless for a very, very long time” (Kaye, 1996, pg 183).

When it came to us re-enacting Marina’s Nightsea Crossing,  we followed the same concept of sitting across another person whilst keeping eye contact. However, we did not do it for seven hours as it was workshop related. The duration of this performance was 45 minutes. Once this task was completed we had a discussion of how the performance effected us and everyone had a vary of answers from mental to emotional manipulation, thinking that the person opposite yourself is reading your thoughts and bringing out the insecurities that you hid from the world into reality. Furthermore, we were in a studio with quite a number of us being part of the performance, but this did not hinder the concept of isolation, as if there was no one else in the room but you and your performing partner.

In addition to this, some people were able to remain focussed and sat still throughout, whereas, others needed to move about by adjusting their seating positions, some felt like crying and others were falling asleep. My personal experience, was trying to be mentally focused on the task given. At times I would falter by dozing off or start creating stories in my mind in order to while away the time. However, when I began to fall into that state, I would snap back reminding myself that I am performing. This made me analyse the concept of silence and the boundaries in which our minds and bodies can go beyond. Also, I began thinking what internal questions the audience members would have once they were in that environment. Would they pick  up on what was going on in the minds of the performer? Would they too start mimicking the performers slight movements if they were taking part in the act?

The notion of sight was the forefront in the performance, as we the performers subconsciously began mimicking our partner’s slight movements and mannerisms due to our visions becoming blurred and infusing our surroundings into one central point. I felt my partner and I imitating each other unconsciously like moving our head slightly and coughing or blinking. In regards to the blnking I could see that we were both blinking at the same time.

Naomi

Work Cited

Kaye, Nick (1996) Art Into Theatre London: Routledge