200% Bloody Thirsty by Forced Entertainment
DVD recording, Review
200% Bloody Thirsty produced by Britain’s leading experimental theatre company Forced Entertainment in 2005. I watched a recording of this piece when I do my research. Forced Entertainment raised many questions concerning contemporary life and performance. The group struggled to find new performance and theatre forms in order to reveal contemporary urban culture. They explores ideas of myth, death and life’s attitude throughout the performance. A strong impression of this piece is the waking up movement in the beginning of each scenes. As a metaphor , it means two angels drop down to the world. This scene seems like a switch to change time and space. It shown me a hint that the next section is going on, and also the waking up action repeated a lot of times.
One of the idea is that the group use of video and monitors offering the audience different view point. Such as Two angels also displayed on their own monitor. When they standing on the “heaven” frame, looking down over the scene and one spoke to one another which discussed what was going on below, that created a sort o f ‘not presence’ like cinema language. There is a sense of playing this moment intimately to canera, leading me focus on its close-up. Tim Etchells point out “I’m interested in how these concerns with mediation inform what the performers themselves are doing, because it seems related to this sense that the performer’s actions and texts are somehow second-hand or being re-phrased or quoted through the performance. It’s as if the performer engage in actions, each of which they sooner or later wake up from”.
Furthermore, 200% Bloody Thirsty move from sequence to sequence, arranged with prerecording sound to live performance, then combine with live sound. Constantly presenting the stillness and chaos movements. Thus from the two angels’ view, drunk people lived in a total chaos and mess world; from the audience view, the two angels trying to evoke dead people looked absurd. Like Etchells indicated “We don’t seek a meaning that has been placed but seek rather the sense of meaning falling into place. A meaning that happens to happen, a feeling that tumbles, a feeling on the very edge of accident”. In a other word, audiences perceiving this work that values the moment where you saw and connected.
Many of their pieces attempted to deconstruct cinematic traditional language. These stage performances employed microphones, sound and visual material, whilst texts came from video and prerecording tapes. Compared with the work from The Wooster Group, they are starting from different intention to play with deconstruction fragments. Forced Entertainment talking about real experiences, set up a prying life space，which have continually come up with something that challenges audiences and also challenges the notion of performance itself. Etchells stated that “you have to think about technology, you have to use it, because in the end, it is in your blood”. However, it is clear that Forced Entertainment is not fascinated with hi-tech equipment. The reason they use of media equipment is to reveal the essential of performance. Because no conditions on stage could be more important than body, language and storytelling.
One of the idea is that the group use of video and monitors offering the audience different view point. Such as Two angels also displayed on their own monitor. When they standing on the “heaven” frame, looking down over the scene and one spoke to one another which discussed what was going on below, that created a sort o f ‘not presence’ like cinema language. There is a sense of playing this moment intimately to canera, leading me focus on its close-up. Tim Etchells point out “I’m interested in how these concerns with mediation inform what the performers themselves are doing, because it seems related to this sense that the performer’s actions and texts are somehow second-hand or being re-phrased or quoted through the performance. It’s as if the performer engage in actions, each of which they sooner or later wake up from”.
Furthermore, 200% Bloody Thirsty move from sequence to sequence, arranged with prerecording sound to live performance, then combine with live sound. Constantly presenting the stillness and chaos movements. Thus from the two angels’ view, drunk people lived in a total chaos and mess world; from the audience view, the two angels trying to evoke dead people looked absurd. Like Etchells indicated “We don’t seek a meaning that has been placed but seek rather the sense of meaning falling into place. A meaning that happens to happen, a feeling that tumbles, a feeling on the very edge of accident”. In a other word, audiences perceiving this work that values the moment where you saw and connected.
Many of their pieces attempted to deconstruct cinematic traditional language. These stage performances employed microphones, sound and visual material, whilst texts came from video and prerecording tapes. Compared with the work from The Wooster Group, they are starting from different intention to play with deconstruction fragments. Forced Entertainment talking about real experiences, set up a prying life space，which have continually come up with something that challenges audiences and also challenges the notion of performance itself. Etchells stated that “you have to think about technology, you have to use it, because in the end, it is in your blood”. However, it is clear that Forced Entertainment is not fascinated with hi-tech equipment. The reason they use of media equipment is to reveal the essential of performance. Because no conditions on stage could be more important than body, language and storytelling.
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