Browsing by Author "Garton, Rosie"
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Item Open Access Agentive Green Mobility: Everyday Performance Training for Women on Wheels(Taylor and Francis, 2024-10-01) Garton, RosieThrough the lens of everyday performance, I examine how females on bicycles are marked as both highly visible spectacles and invisible ‘others’. In developing the feminist promise of the mechanically monstrous cyborg, I offer a new revolutionary figure of hope – the cycleborg – who puts her otherness to use. In painting the image of the cycleborg, I suggest that she offers a position for the cycling female to make subversive use of her patriarchally-assigned image of the monstrous other. As she rallies against her training of feminine comportment, the cycleborg simultaneously welcomes her instinctive gendered training to navigate hostile, patriarchal climates. She joins her feminist killjoy allies in training to be a seen and heard nuisance. As our fast and fuel-less cycleborg pedals between exhaust fumes and traffic-jammed revving motors, she performs her honed physical, spatial and sensorial skills in an agile and agentive mode of environmentally-friendly mobility. An awareness of performance training offers this daily practice of green living a toolkit from which to understand the complex positioning of her embodied and gendered urban mobility and to carry out her spatial act of resilience. I argue that as an unfamiliar and more-than-human hybrid, she has the potential to make use of her performative hypervisibility to emphasise both a re-thinking of hegemonic attitudes whilst also presenting the potential for human agency and responsibility in the future of the environment.Item Metadata only Blueprint (Performance in Lyon)(2013-03) Garton, Rosie; Rippel, IIdikoBlueprint was a collaboration with performers, non-performers and new technology. The piece sets up video links to the performers real-life mothers, and begins to investigate the performers heritage – culturally, genetically and personally. The performers liaise with their mothers as they exchange stories and perform tasks as they all reveal shared genetic traits and unearth forgotten memories. Autobiographies become confused as the voices of the past and present shift between the performers and their mothers. Blueprint is a collaborative (Garton and Rippel) practice as research project explores reminiscence, nostalgia and motherhood, featuring four female performers and their real-life mothers digitally mediated via video call. The relationship between the daughters on stage and the virtual mothers is presented in order to achieve a disappearance of the performers’ personae or characters, and for a moment we are present on stage not as performers but as daughtersItem Embargo Borders of time and transportations of digital image(Routledge, 2018-06) Garton, Rosie; Rippel, IIdikoIn 2017 Zoo Indigo presented ‘No Woman’s Land’, a theatrical reaction to the historical story of Lucia and many other walking women at the end of WWII alongside Rosie and Ildikó’s experiences of their own walk. There is an unspoken reference to current plights of many refugees. Created in collaboration with Digital Artist, Barret Hodgson, and Musician, Matt Marks, the work takes its audience on a rhythmical trek through digitally projected past and present landscapes of the post-apocalypse. Emulating the border crossings that Lucia walked and the duo retraced; the digital media and performance text crisscrosses between then and now, between Poland and Germany. A Weimar Kabarett framework is employed; showcasing a series of acts that allow the performers to embrace ‘gallows humour’ as a mechanism to discuss challenging truths.Item Open Access Celluloid Souls (Performance in London)(2018-03-11) Garton, Rosie; Rippel, IIdikoMovies are part of our collective memory and evoke an emotion of nostalgia, a sense of shared experience; they become part of our biographies and personal histories. Considering how we romanticise cinema, the question arises as to how ‘real’ our feelings can ever be if they are patterned on these pre-existing cultural texts, or blueprints. Zoo Indigo investigates the desires that movies evoke, desires to find love, to find a happy end, to be a hero, to be a villain, to be a sexy villain, to be a sexy German villain in long leather boots.Item Open Access Celluloid Souls (Performance)(2017-10) Garton, Rosie; Rippel, IIdikoMovies are part of our collective memory and evoke an emotion of nostalgia, a sense of shared experience; they become part of our biographies and personal histories. Considering how we romanticise cinema, the question arises as to how ‘real’ our feelings can ever be if they are patterned on these pre-existing cultural texts, or blueprints. Zoo Indigo investigates the desires that movies evoke, desires to find love, to find a happy end, to be a hero, to be a villain, to be a sexy villain, to be a sexy German villain in long leather boots.Item Open Access Collaboration is a Curious Lover(2016-02) Garton, RosieZoo Indigo is a collaboration. It’s the two of us. Ildiko Rippel and me. When we facilitate workshops, we nod, wink and smile. We spontaneously add ideas, tasks and images. When one of us laughs, we are urged on. There is a knowing born out of thirteen years of working together that doesn’t need words. We teach at different universities, work with different artists, watch and read different work, and we share all this with an understanding that we are teaching each other. In the making space we experiment without fear of failure. We don’t hide our sweat patches, we accept our eccentricities, we understand the learned delicate modes of reining each other in. We roll our eyes with acceptable disdain. This partnership has lasted longer than any of our lover relationships. But this has never been a full time occupation and having breakfast together is still a treat and stepping into the rehearsal space is like having a hamper of fresh croissants, jam and coffee delivered in the morning.Item Embargo Constructing Performance: Missing screws(Tetrad Collective, 2016-06) Garton, Rosie; Rippel, IIdikoA while ago I passed a billboard poster proclaiming: "We will come and do your D.I.Y. for you!" And in moments of stillness, this advertisement reappears, uninvited, in my brain, and I consider the confusing proposal of hiring someone else to do Do It Yourself. My house is in a constant flux of D.I.Y. projects at various stages, a growing condition over the eight years I have lived there. These projects generally fall into three categories: 1. Completed (but not quite to specifications) 2. Not-quite-completed (but getting used to) 3. To-be-started at some-point-soon Predominantly my D.I.Y. determination is driven by the desire to both prove my womanhood and save money. But as someone who learns on the job, I have also identified an attraction to the exhilarating and demoralising experience of un-planned construction.Item Metadata only Don't Leave Me This Way(Zoo Indigo, 2023-02-02) Garton, RosieIn 2019, Zoo Indigo embarked on an odyssey across Europe; searching for cultural identity along the shores of the Danube in Budapest; crossing the Irish sea retracing ancestral footsteps to the docks of Dun Laoghaire. Emerging from the shadow of Brexit, they listened for echoes of cultural belonging in the streets of Berlin. Collecting stories, folk dances and lyrics along the way, their journey now brings them to their final call: Auditioning for a motherland in Don’t Leave Me This Way, the duo perform a series of citizenship catwalks to live music from Rob Rosa and digital projections by Barret Hodgson. This contemporary performance spoken in English, German and Hungarian is a concert that never quite happens, grieving the loss of identity, home and mourn ‘nul points’ in the Eurovision song contest, in a playful and provocative exploration of cultural belonging.Item Open Access Fantasizing Motherhood in 'Under the Covers'(Live Art Development Agency, 2016-10) Garton, RosieThis is the fantasy of motherhood that shamefully weeped from my rock solid breasts with no mouth to feed. This is the performance that could only happen once my pre-stretched stomach produced a breathing child, or two. This is the confused longing to escape achieved motherhood, an escape akin to a sexual fantasy that only works if it never happens.Item Metadata only Flat Out (Performance in Manchester)(Hazard Festival, Manchester, 2012-06) Garton, Rosie; Rippel, IIdikoThis is a street intervention work: life size cut outs of our children are placed in hazardous situations, handed to strangers, photographed in public spaces. We are re-claiming our choices of parenting and we maintain high-end glamour at all times, because the competition is always on for the title of ‘yummy mummy’. This practice as research project examines Lisa Baraitser's notion of mother as street runner and layers an additional experiment with the idea of mother being a tourist of the city. The camera is used by passers by to frame images of the cardboard children in dangerous and familial situations, the lens provides a further peephole into notions of tourism.Item Open Access Loss and Being Lost: Performing Precarity through Multi-lingual Text, Song and Music in Zoo Indigo's 'Don't Leave Me This Way'(International Association of Theatre Critics, 2021-12) Garton, Rosie; Rippel, IldikoThis article examines the function of music and multilingualism in Zoo Indigo’s Don’t Leave Me This Way. Through an engagement with live music, song and multilingual spoken text, an “affective potential of tonality” (Fischer-Lichte 120) is explored to express themes of precarity. The use of multilingualism functions “to upset the position of dominant language” (Byczynski 33), further highlighting a cultural precarity in a Brexit-ridden Britain. Drawing upon Butler’s constructivist view of performativity, the authors reflect on a narrative of loss and being lost communicated and understood through a dramaturgical framework of multilingualism, mother tongues, live music, pre-recorded sounds and song.Item Open Access Maternal Ruptures/Raptures: Leakages of the real(Taylor and Francis, 2017-11-07) Garton, Rosie; Rippel, IldikoThis article, co-authored by Ildikó Rippel and Rosie Garton of Zoo Indigo Theatre Company, explores two performance works; Under the Covers (2009) and Blueprint (2012), devised and performed by the duo. Both works present live video links to family members of the performers. In Under the Covers the live video was streamed from the bedrooms of the performers’ four young children, and the duo asked the audience to babysit their sleeping children so that they could ‘get on with the show’ (Zoo Indigo 2009). In Blueprint live video links brought the performers’ mothers (four in total) into the performance space. On occasions during the touring of both of these works, the relationship between the live performers on stage and the live streamed family members on screen caused unscripted reactions from the performers on stage. During a performance of Under the Covers, one of the crying babies prompted a let down effect for a breastfeeding performer. In Blueprint the sharing of anecdotes caused a performer on stage to cry. In these occasions the leaking of bodily fluids of milk and tears caused a momentary leakage of the Real into the Symbolic framework of theatre. This article uses the experience of performing these works to argue that the maternal body in performance has the capacity to cause a rupture, a fracture within representation, for a rapturous Real to emerge. The article draws on Psychoanalytical theory, specifically Jaques Lacan’s discussion of the Real, and Julia Kristeva’s writing on the semiotic chora. Important note: Zoo Indigo is a collaborative partnership between Rosie Garton and Ildiko Rippel, the duo have been making performance work together since 2002. Many of their published articles/papers/chapters etc are co-authored, emulating the collaborative nature of their practice. This article uses previous Zoo Indigo works 'Under the Covers' and 'Blueprint' as case studies to examine authenticity in performance.Item Metadata only No Woman' Land (Film Documentary - Brazil)(2017-07) Garton, Rosie; Rippel, IIdiko; Walsh, TomIn 1945, at the end of WWII, Ildiko’s grandmother, Lucia Rippel was expelled from her home in Silesia. With her two children and all her belongings dragged in a cart, she walked 220 miles across the fracture landscape of Europe to find a new home. This 18-minute film follows Zoo Indigo’s walk across Poland and Germany in 2015, retracing Lucia’s journey. Themes of home, migration, displacement, women and war are explored in this experimental travelogue entwining the sights, sounds and landscapes of Zoo Indigo’s travels alongside its historical context. For access to the full film please contact Rosie GartonItem Metadata only No Woman's Land (Film documentary screening in Leicester)(Borderlines Conference, De Montfort University, Leicester, 2017-06-22) Garton, Rosie; Rippel, IIdiko; Walsh, TomIn 1945, at the end of WWII, Ildiko’s grandmother, Lucia Rippel was expelled from her home in Silesia. With her two children and all her belongings dragged in a cart, she walked 220 miles across the fracture landscape of Europe to find a new home.Item Metadata only No Woman's Land (film documentary)(2016-06-17) Garton, Rosie; Rippel, IIdiko; Walsh, TomIn 1945, at the end of WWII, Ildiko’s grandmother, Lucia Rippel was expelled from her home in Silesia. With her two children and all her belongings dragged in a cart, she walked 220 miles across the fracture landscape of Europe to find a new home. This 18-minute film follows Zoo Indigo’s walk across Poland and Germany in 2015, retracing Lucia’s journey. Themes of home, migration, displacement, women and war are explored in this experimental travelogue entwining the sights, sounds and landscapes of Zoo Indigo’s travels alongside its historical context.Item Metadata only No Woman's Land (Film documentary)(2016-05) Garton, Rosie; Rippel, IIdiko; Walsh, TomThis 18-minute film follows Zoo Indigo’s walk across Poland and Germany in 2015, retracing Lucia’s journey. Themes of home, migration, displacement, women and war are explored in this experimental travelogue entwining the sights, sounds and landscapes of Zoo Indigo’s travels alongside its historical context. In 1945, at the end of WWII, Ildiko’s grandmother, Lucia Rippel was expelled from her home in Silesia. With her two children and all her belongings dragged in a cart, she walked 220 miles across the fracture landscape of Europe to find a new home.Item Metadata only No Woman's Land (film documentary)(2017-06-03) Garton, Rosie; Rippel, IIdiko; Walsh, TomIn 1945, at the end of WWII, Ildiko’s grandmother, Lucia Rippel was expelled from her home in Silesia. With her two children and all her belongings dragged in a cart, she walked 220 miles across the fracture landscape of Europe to find a new home. This 18-minute film follows Zoo Indigo’s walk across Poland and Germany in 2015, retracing Lucia’s journey. Themes of home, migration, displacement, women and war are explored in this experimental travelogue entwining the sights, sounds and landscapes of Zoo Indigo’s travels alongside its historical context. For access to the full film please contact Rosie GartonItem Metadata only No Woman's Land (paper)(2016-02) Garton, Rosie; Rippel, IIdikoThis project continues Zoo Indigo’s exploration of the performance of motherhood and authenticity in performance through the inclusion of real histories and the “authentic” experience of the walk. The physical experience of walking the same distance as the grandmother will produce a change of the performers’ bodies, an “authentic” physicality, marked by exhaustion and the bodies’ memory of the many steps taken. The project furthermore investigates psychogeography, ethno-mimesis, the politics of home and displacement and walking as a performative practice. Walking through the united and borderless Europe was an empowering experience, and we found the notion of post-nationalism to be true, particularly at the borders of Poland and Germany. Once separated by barbed wire and a wound of no-man’s-land, this area now runs joint cultural projects and connects the communities, has opened German-Polish Kindergartens and built many actual and symbolic bridges. Whilst we were walking, the refugee crises escalated, and elsewhere borders and fences were erected, in Hungary and Calais. Our performance will deal with these urgent issues, calling for a borderless post-national world, for a humankind with more humanity.Item Metadata only No Woman's Land (Performance extract in Bangkok)(2016-02) Garton, Rosie; Rippel, IIdiko'No Woman's Land' (performance) is 1 hr 15 minute large-scale, multi-media performance work. In 1945, Ildikó’s grandmother Lucia Rippel, expelled from her place of birth, walked 220 miles across the fractured landscape of Europe, with her two small children and all her belongings dragged in a cart. In 2015, Ildikó and Rosie retraced her footsteps, crossing borders, climbing fences, bleeding, crying and blistering, carrying their flat-pack children. The performance is a response to our walk and findings, made in collaboration with digital artist Barret Hodgson and musician Matt Marks. The piece uses digitally mapped projection as the two performers (and sometimes audience members) walk on treadmills through past and present landscapes of the post-apocalypse. Drawing from the gallows humour of 1920’s Weimar Germany Kabarett, we are dressed as men to entertain, but also to avoid rape, keep our jobs and keep our children alive. The duo are accompanied by a live musical soundscore, which draws from the collected sounds from the journey and sets the scene of the politically charged Kabarett acts from the darkened Berlin Bars at the time. This practice as research project examines the process of transferring the politics of home and displacement and experience of walking into an autobiographical and familial performance (performing with family) through the inclusion of real (hi)stories. In the No Woman’s Land performance the performers re-create the experience as they (and sometimes spectators) walk on treadmills. Through kinaesthetic empathy the audience are affected by witnessing the walking, the breathlessness, the sweat. No Woman’s Land investigates authenticity with a critical poststructuralist perspective: the familial micro-narrative of the grandmother deconstructs phallogocentric views on history often represented through the male war hero, and highlights women’s experience of migration.Item Metadata only No Woman's Land (Performance in Belgrade)(2018-06) Garton, Rosie; Rippel, IIdikoIn 2015 Ildikó and Rosie retraced Lucia’s footsteps. Crossing borders, climbing fences, bleeding, crying, blistering. We walked through the united and borderless Europe, witnessing a post-national utopia, particularly at the borders of Poland and Germany. Once separated by barbed wire, armed border police and animosity between the two countries, this area now runs joint cultural projects, has opened German-Polish Kindergartens, as well as setting up a floating bar on the river Neisse which had formed an insurmountable border for many decades. Whilst we were walking the refugee crises escalated, and elsewhere borders and fences were erected. The escalation of the crisis placed survival, identity and migration at the forefront of the project. The project’s historical and current context of migrant mothers, borders and displacement raises interesting questions with regards to the traditionally gendered assumptions of heroic walking. This practice as research project examines the process of transferring the politics of home and displacement and experience of walking into an autobiographical and familial performance (performing with family) through the inclusion of real (hi)stories. In the No Woman’s Land performance the performers re-create the experience as they (and sometimes spectators) walk on treadmills. Through kinaesthetic empathy the audience are affected by witnessing the walking, the breathlessness, the sweat. No Woman’s Land investigates authenticity with a critical poststructuralist perspective: the familial micro-narrative of the grandmother deconstructs phallogocentric views on history often represented through the male war hero, and highlights women’s experience of migration.