Writing
This is a Queer Series

Welcome to the fall 2019 iteration of Performance Club where three queer artists take you into the heart of their processes, practices, and deepest fears. Through performance gatherings, readings, discussions and one workshop, these experimental forays into a hybrid form—somewhere between the academy and the studio—seek to provide an opportunity for you to contribute to, reflect on, and shine in the light of three innovative interventions into performance and being. 

In order to enhance the experiential proceedings that define Performance Club, we provide you, here, with this syllabus and course pack (even though this is technically not a course). All will become clear soon enough. 


Club Objectives 

This Performance Club will increase your ability to:


  • Compare and contrast various styles of performance
  • Discuss art with strangers
  • Critically engage with original live performance
  • Formalize the space between performance and learning
  • Enhance your conceptual understanding of performance
  • Enhance your conceptual understanding of clubs
  • Gain a deeper understanding of process and its centrality to performance
  • Develop confidence in your ability to communicate in a club setting
  • Understand the ways that performance is in conversation with the social and political forces that surround it
  • Laugh and then cry 
  • Retreat and then rejoin
  • Eat snacks and then eat more snacks
  • Embrace your inner queer


Required Reading: A Script, A Story, A Score

These Performance Club events are self-referential insomuch as each refers back to a previous performance, gestures toward a future performance, or imagines a related performance. 

Research, creative engagement and hands-on learning intersect in this multi-pronged approach to develop spectatorship that is aesthetically, socially, and formally engaged. As clubs, these events necessarily rely on collective meaning-making and shared interest in specific topics. Assembled here, in one handy volume, are all the printed materials required for your fully informed club experience. 

Take this syllabus home with you. Read it, review it, and come prepared to discuss its contents in an open and friendly environment. Extra points will not be given for talking at length. 


CLUB STRUCTURE

Attend Performance: September 10
Performance Club begins in week one with Book Club: snowflakes in the echo chamber by Moe Angelos. Moe’s performance contemplation of fragility, fear, and the flattening of knowledge in contemporary society is performed as a “sort of” sequel to her previous Performance Club contribution, entitled Queer/Play, which you will find published in this volume. Moe wants you to know that: “When you arrive, you should be aware that performance will take place and you may be a performer and/or in the audience. And there will be snacks.” 

Readings: September 6–11
Participants must read this introduction, plus the entry by Moe Angelos entitled Queer/Play, as well as the entry by Cornell Woolrich entitled Three O’Clock in preparation for the coming week’s club performance. 

Attend Performance: September 12
In week two Hope Thompson performs a conjectural interaction with the ghost of Cornell Woolrich to dissect the trans-historical connection between queerness and mystery. This conjuring is inspired by Hope’s work-in-progress play inspired Woolrich’s Three O’Clock, which is included in this volume. Hope hopes you know that: “You will be watching an interview with a deceased writer. I don’t expect you, necessarily, to know much about the writer.” 

Reading: September 13–18
Participants must read the entry by David Bateman entitled I Wanted To Be Bisexual But My Father Wouldn’t Let Me in preparation for the following week’s club performance. 

Workshop: September 14
Attend Death, Sex, & Macrame where there will be some macramé weaving. The workshop is not mandatory, but it is compulsory. 

Attend Performance: September 19
For the third and final performance of this series David Bateman, who wants you to know that he is “trying to configure new and current work as aspects of 35 years of creating performance, and the influences that continue to affect [his] ongoing performance work,” will delve into the ambiguities of gender and performativity to either enrich or confuse your previous views, depending on his current state of gender/mind. 

Participation
Each event happens only once, and while the events are connected they are not the same— interlinked, but unique. Participants are strongly encouraged to attend all Performance Club events related to the materials in this syllabus. Extra points will be given for initiating discussions that draw on material covered across the entire series. 

Grading
The grading scheme for participants will be fully self-regulated. If, however, you prefer to be graded by an experienced professional, please feel free to approach me at the final event. But, be advised, once you have been graded by me that grade will be considered final. 

This Is Not A Course, Nor A Show
How do we define the spaces between learning and viewing, between art and politics, between being and performing? These clubs seek to extend the reach of performance to find new forms with which to answer these questions and to pose many more questions along the way. The club format, likened to the traditional salon, can be seen as a default space of education, or as an open forum for creative expression. The club is always about engagement and in this club we hope you will find yourself engaged and embraced in a series of performances that are not just for show.

Performance
Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? by David Bateman

Save your Thursdays in September for the ultimate trio of Queer Performance Clubs performed by Moe Angelos, Hope Thompson, and David Bateman.

Performance Club 6 presents, Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? by David Bateman. This performance looks at the iconic romance novel Love Story (1970), with an emphasis on the famous phrase from the book, “Love means never having to say you’re sorry,” and its indirect connection to the General Idea sculptures.

THE GOLDEN BOOK
Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO’s Golden Book series (as always, designed by Lisa Kiss). This time, it’s bigger (it won’t fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled, This is a Queer Series… written by Moynan King.

CLUB TALK BACKS
Join us after each performance for a talk back with the artist and their fellow club artists.
September 10: Moe Angelos in conversation with David Bateman
September 12: Hope Thompson in conversation with Moe Angelos
September 19: David Bateman in conversation with Hope Thompson

Death, Sex, & Macrame (and other works) with David Bateman

Save your Thursdays in September for the ultimate trio of Queer Performance Clubs performed by Moe Angelos, Hope Thompson, and David Bateman.

This Performance Club Workshop will consider several of David Bateman’s past performance works, and ways in which he has re-considered various narratives/performance texts around sex and gender over the past thirty years. Works to be looked at may include: Death, Sex, & Macrame (2019), I Wanted To Be Bisexual But My Father Wouldn’t Let Me (1992), and the performance he will be presenting in the second part of his Performance Club 6, Art Immuno Deficiency Syndrome, subtitle; Does This Giacometti Make Me Look Fat? (2016).

Expect reading, writing and macrame curtain weaving.
THE GOLDEN BOOK
Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO’s Golden Book series (as always, designed by Lisa Kiss). This time, it’s bigger (it won’t fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled, This is a Queer Series… written by Moynan King.

CLUB TALK BACKS
Join us after each performance for a talk back with the artist and their fellow club artists.
September 10: Moe Angelos in conversation with David Bateman
September 12: Hope Thompson in conversation with Moe Angelos
September 19: David Bateman in conversation with Hope Thompson

Performance
The Talking Grave by Hope Thompson

“It’s not everyday you get to talk to the dead – and they answer.”
~Hope Thompson


Join us for Performance Club 5, and this special “conversation” between famed noir writer Cornell Woolrich (deceased) and his interviewer, Hope Thompson.

In a rare, ‘one-on-one’ Hope Thompson interviews crime writer and father of noir, Cornell Woolrich (1903–1968). Thompson brings alive her obsessive fascination with both Woolrich’s writing and his life in this ‘tell-all-from-beyond-the-grave’ interview performance. A solitary and reclusive figure in life, Woolrich is similarly reticent in death, however, Thompson’s interview techniques draw out the writer, giving the Performance Club a window into the dark secrets, vulnerabilities and surprising humour of this often overlooked giant of 20th century crime fiction.

Cornell Woolrich’s seminal short story, Three O’clock, will be provided as a sample of the author’s work. In this thriller of marital revenge, a husband known only as “Stapp” plots the murder of his wife, only to have a series of surprise events send him spiraling into nail scratching despair.


THE GOLDEN BOOK
Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO’s Golden Book series (as always, designed by Lisa Kiss). This time, it’s bigger (it won’t fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled, This is a Queer Series… written by Moynan King.

CLUB TALK BACKS
Join us after each performance for a talk back with the artist and their fellow club artists.
September 10: Moe Angelos in conversation with David Bateman
September 12: Hope Thompson in conversation with Moe Angelos
September 19: David Bateman in conversation with Hope Thompson


Save your Thursdays in September for the ultimate trio of Queer Performance Clubs performed by Moe Angelos, Hope Thompson, and David Bateman.

Performance
Book Club: snowflakes in the echo chamber by Moe Angelos

Save your Thursdays in September for the ultimate trio of Queer Performance Clubs performed by Moe Angelos, Hope Thompson, and David Bateman.

Are you a snowflake? Do you live in an information silo? Do you live to comment? Likes, dislikes, emoji bagels and a thumbs up? Are you a lurking flamer? (Or is your crazy uncle in Alberta one?) Is this making you mad? Would you like to say something? Do you feel silenced because there is no comment function? What happens when all your friends (and your “Friends”) think exactly the same as you? Can you talk to each other anymore?

Join us for Performance Club 4, Book Club: snowflakes in the echo chamber, one year after Queer/Play was published; one year after Ellie, Audrey, Jasmine, Stacy and Moe read it in their book club; and one long year on our journey ever deeper into the Offendocene, the epoch of being outraged.

THE GOLDEN BOOK
Join us for Performance Club and get your own Performance Club: THE SYLLABUS, a brand new addition to FADO’s Golden Book series (as always, designed by Lisa Kiss). This time, it’s bigger (it won’t fit in your pocket, think book bag) and it contains three performance texts and an incredible intro, entitled, This is a Queer Series… written by Moynan King.

CLUB TALK BACKS
Join us after each performance for a talk back with the artist and their fellow club artists.
September 10: Moe Angelos in conversation with David Bateman
September 12: Hope Thompson in conversation with Moe Angelos
September 19: David Bateman in conversation with Hope Thompson

Performance Yellow

This fragrance opens us to the question, has the show started? It's winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer