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Kino International was a four month collective project that practically implemented suggestion from Joreens 1970 essay ‘The Tyranny of Structurelessness.’ Devised with and featuring three other practitioners (Jane Frances-Dunlop, Janine Harrington and Jessica Wiesner), the final theatrical work was developed in line with a reading group we’d set up, and built from a series of evolving experimental presentations that we’d carried out as a group. The resulting collection of eight task based vignettes were lead by the different participants or co-devised by the group, intending to frame and utilise their different disciplinary strengths. Taking a cinema, in former East Berlin, as a starting point for discussions, it also looked at the influence of light on the methods and ethics of editing in the respective sites of the theatre, gallery and cinema.

The accumulation and delivery of selected statements via a predetermined sequence.
A lecture on cliques and waiting by Jane Dunlop, sabotaged by a rotating screen and the other agents.
Thoughts on Tableaux
A game of catching ‘conch’ between players who can only deliver anecdotes when they have the paper ball.
Performers relate to each other in accordance to instruction on their t-shirts stripping as they go to change their relations.
An improvised lecture on ‘doing viewing’, and an improvised dance behind a screen. Both run against a countdown and are filmed by a sculptor who’s camera feeds back live.
Falling apart to stay together
Circles are rehearsed using the body as a compass, then they are drawn on the paper stageas the performers warm up and test manoeuvres.
Wear the stage
As the improvised sequence develops these circles are cut then from the paper flooring allowing it to be assembled in to costumes till the whole stage is worn.
Q&A (in costume)
The instigator leaves so the performers can speak more freely, fielding questions in costume.

Performance dates:

Exercise 1. Introducing…,
Queen Mary University (10 Feb 2011)
Exercise 2. When A Screen is Not a Plain,
Queen Mary University (10 March 2011)
Exercise 3. To Be Carried in the Body of a Dancer,
Queen Mary University (31 March 2011)
Kino International & Other Organising Principals. Parts 4 & 5
The Pinter Theatre (May 2011)

Final performance mail-out

Kino International is an iconic 60's single screen Berlin cinema, on what used to be the Eastern side. It was also the starting point for a conversation between four practitioners that began three months ago and will not be finished any time soon. From my perspective it has always been a 'thing', a point, a part, a set site we might relate to. I thought its form might suggest a way we could walk some talk and test some texts that spoke of constructing collectively, performatively for the want of tangibility. Though the remnants of this reading machine are still visible its sense of task has inevitably moved on. It has been describe by those involved as 'a set of idea's that change of their own volition', 'a cinema for the hypothetical', and 'a tireless quest for the ghost note' . It has an abundance of organising concepts, to little time, and a set of conditions that keep coming round for review. As a 'thing' it simply wont be done. Please join us in our not doneness for a live event that draws on a range of text, some simple effects, anecdotal knowledge, the Oxford English Dictionary, the love of a film, the lust for space, the need for structure and gaps that we couldn't quite jump. Above all it takes seriously and test a range of propositions these are just a few;

“There where no cast scripts to Shakespeare plays so competing play houses would send people to transcribe them so they could effectively pirate the production. You can imagine the changes and mistranslations that got built in. I love the idea of these alternative versions proliferating round London and how in some cases the most accurate version is still not known.”
Jane Dunlop

"There was a time in figurative sculpture where they hadn't figured out the weight of limbs and how much work the body does just keeping them up. There's a lot of greek goddesses out there missing their arms but my favourite evidence of this has to be the odd props you see supporting sculptures in public spaces sometimes."
Janine Harrington

"Someone once told me that Vivienne Westwood makes her clothes deliberately difficult to wear. They are voluminous, twist round, ride up and need adjusting by the wearer all the time. She says this is because the more you play with something the more people will notice and take it in."
Jessica Wiesner

Thinking Big
Random Play
Fiddling with the Faculty (w/ Edward Clive)
Draft 1, 2, & 3 (w/ Jane Frances Dunlop)
Liberate Labour
Triggering Diagram
The Enormous Space

88 Hight Street
Flat 4
CT11 9RX

Fiona James