Browsing by Author "Rippel, IIdiko"

Now showing 1 - 20 of 21
  • No Thumbnail Available
    ItemMetadata only
    Blueprint (Performance in Lyon)
    (2013-03) Garton, Rosie; Rippel, IIdiko
    Blueprint 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 daughters
  • No Thumbnail Available
    ItemEmbargo
    Borders of time and transportations of digital image
    (Routledge, 2018-06) Garton, Rosie; Rippel, IIdiko
    In 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.
  • Thumbnail Image
    ItemOpen Access
    Celluloid Souls (Performance in London)
    (2018-03-11) Garton, Rosie; Rippel, IIdiko
    Movies 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.
  • No Thumbnail Available
    ItemOpen Access
    Celluloid Souls (Performance)
    (2017-10) Garton, Rosie; Rippel, IIdiko
    Movies 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.
  • Thumbnail Image
    ItemEmbargo
    Constructing Performance: Missing screws
    (Tetrad Collective, 2016-06) Garton, Rosie; Rippel, IIdiko
    A 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.
  • No Thumbnail Available
    ItemMetadata only
    Flat Out (Performance in Manchester)
    (Hazard Festival, Manchester, 2012-06) Garton, Rosie; Rippel, IIdiko
    This 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.
  • No Thumbnail Available
    ItemMetadata only
    No Woman' Land (Film Documentary - Brazil)
    (2017-07) Garton, Rosie; Rippel, IIdiko; Walsh, Tom
    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. 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 Garton
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (Film documentary screening in Leicester)
    (Borderlines Conference, De Montfort University, Leicester, 2017-06-22) Garton, Rosie; Rippel, IIdiko; Walsh, Tom
    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.
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (film documentary)
    (2016-06-17) Garton, Rosie; Rippel, IIdiko; Walsh, Tom
    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. 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.
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (Film documentary)
    (2016-05) Garton, Rosie; Rippel, IIdiko; Walsh, Tom
    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. 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.
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (film documentary)
    (2017-06-03) Garton, Rosie; Rippel, IIdiko; Walsh, Tom
    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. 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 Garton
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (paper)
    (2016-02) Garton, Rosie; Rippel, IIdiko
    This 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.
  • No Thumbnail Available
    ItemMetadata 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.
  • No Thumbnail Available
    ItemMetadata only
    No Woman's Land (Performance in Belgrade)
    (2018-06) Garton, Rosie; Rippel, IIdiko
    In 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.
  • No Thumbnail Available
    ItemEmbargo
    No Woman's Land (Performance)
    (2018-03-02) 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.
  • No Thumbnail Available
    ItemMetadata only
    Performing Maternity
    (2016-01) Garton, Rosie; Rippel, IIdiko
    This presentation examines the 'every day' performance of the mother, and how the desire to escape responsibility can be revealed in performance, alongside a duty of care. This paper draws from two of Zoo Indigo's performance works 'Flat Out' and 'Under the Covers'
  • Thumbnail Image
    ItemOpen Access
    This is now, this is live
    (DRHA: Digital Research in the Humanities and Arts, 2011-09) Garton, Rosie; Rippel, IIdiko
    We are Zoo Indigo, a Nottingham based performance company, experimenting with innovative new technology and the virtual performer to create authentic presence on the arena of illusion, the stage. As part of our research we recently took the exploration of the virtual performer further, and explored the virtual “non-performer”, the infants in Under the Covers. The audience’s – and the performers’ – response to the digital infants is always intense. The babies are there with us, live in the theatre space, their presence is felt constantly as we observe the blurry CCTV style live video footage, and the audience is drawn into their spaces further through the interactivity created with live sound connections. In this paper we are going to introduce the different elements that contribute to create this authentic, “real-life” presence, flooding into the performance situation of pretence. The paper furthermore investigates if new technology and virtual presence in performance comments, confirms or contradicts current theories of posthumanism, and whether, as part of the posthuman condition, a virtual version of a performer – or the digitalised presence of any person - can have an authentic presence at the remote location, can be as real, or even more real, than a live body of flesh and blood.
  • No Thumbnail Available
    ItemEmbargo
    Treading Old Ground in New Spaces: Authenticity in Performance Walking
    (Routledge, 2020-01-01) Garton, Rosie; Rippel, IIdiko
    This article discusses the politics of home and displacement and authenticity in autobiographical and familial performance (performing with family) through the inclusion of real (hi)stories. In 1945 Ildiko Rippel’s grandmother was expelled from her place of birth in Silesia, and walked 220 miles through the fractured landscape of Europe. In 2015 Rosie Garton and Ildiko Rippel re-walked this journey, and devised a performance based on the research. The proposed article investigates the kinaesthetic empathy sensed by the performers when re-experiencing this walk, which produced a change of the performers’ bodies, an “authentic” physicality, marked by exhaustion and the bodies’ memory of the endurance. 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. The authenticity of familial performance problematizes the conclusive narratives and universal truths reinforced by patriarchy. Intersected with performative notes, the article offers a subjective view on the experience of the walk as well as the individual experiences of re-performing the journey. These subjective artists’ voices will zoom into the personal experience of walking, enabling a kinaesthetic empathy though experiential writing. In conclusion the article argues that in the No Woman’s Land performance kinaesthetic empathy provides the ontological ground for historical and political knowledge.
  • No Thumbnail Available
    ItemEmbargo
    Under the Covers (Performance in Nottingham)
    (Performed at, 2013-04) Garton, Rosie; Rippel, IIdiko
    In an interactive media performance Zoo Indigo take their babies on tour so they can perform while you babysit. Combining autobiography and cutting edge technology, the performance duo attempt to re-enact the movie star roles they aspire to with help from two flat pack daddies, but the day-to-day-ness of their real lives keeps interrupting. Under the Covers is an intimate, tender and humorous meditation on the way in which artists juggle the work they make with the lives they choose to lead. In re-visiting real-life in the making of their latest work Zoo Indigo marks a return to performance after a pregnant pause. “An unexpected show. A lot of laughs, ingenious involvement of the disarmed and willing audience, and some seriousness too. Great ending. I hope more people can see it.” Caryl Churchill This collaborative (Garton and Rippel) performance as research project, engages with the staging of the maternal body, we are present as mothers, observing our real-life babies on screen. In placing/displacing our maternal body in performance, we attempt to stage the ‘inexpressible Real’. The performance deliberately establishes binaries, such as between autobiography and play-acting, real and fake, and through this a sense of the authentic is perceived in juxtaposition to the evidently staged.
  • No Thumbnail Available
    ItemMetadata only
    Under the Covers: an interactive audience (paper)
    (2015-07) Garton, Rosie; Rippel, IIdiko
    "We are really excited to perform for you tonight – we just had one little problem: we couldn’t find any babysitters. You see, we are both mothers. Young mothers. But don’t panic, we found a solution! Anybody ever heard of SKYPE? Great. So this is what we’ve done, the clever bit: we’ve attached infra-red cameras above our babies’ beds, and we are filming them, now, live, so you can babysit, while we perform". This paper examines the babysitting role of the audience in Zoo Indigo's performance of 'Under the Covers'. This collaborative (Garton and Rippel) performance as research project, engages with the staging of the maternal body, we are present as mothers, observing our real-life babies on screen. In placing/displacing our maternal body in performance, we attempt to stage the ‘inexpressible Real’. The performance deliberately establishes binaries, such as between autobiography and play-acting, real and fake, and through this a sense of the authentic is perceived in juxtaposition to the evidently staged. The audience are given responsibility for the care of the virtual infants