TESTIMONY AND TESTIMONIUM
Lin Hixon and Matthew Goulish, co-founders of the performance collective "Every house has a door"
will be discussing their work-in-progress,
in the Logan Arts Center, room 801
Tuesday, February 5, from 4:20-5:50 pm
as special guests of Jennifer Scappettone's Documentary Across the Genres course, through the support of the UChicago Arts Council
(Please note the unusual time; it will not be possible to enter after 4:20 pm)
Testimonium, previously titled Testimony 2.2, presents recitation, movement, and music, composed in response to Testimony: The United States 1885 – 1915, the unfinished masterwork by the American Objectivist poet Charles Reznikoff. Bryan Saner recites a reimagined text, unfolding the original with biographical and philosophical material. Stephen Fiehn performs a series of near-silent movement sequences, activating objects on the installation-like stage. Joan of Arc (Tim Kinsella, Bobby Burg, and Theo Katsaounis) perform live an original 6-song cycle. Three alternating modes of performance form a complex weave at three radically different volume levels.
Biographies of the Artists: Matthew Goulish co-founded Goat Island Performance Collective in 1987, and Every house has a door in 2008. His 39 Microlectures – in proximity of performance was published by Routledge in 2000, and Small Acts of Repair – Performance, Ecology, and Goat Island, which he co-edited with Stephen Bottoms, in 2007. He was awarded a Lannan Foundation Writers Residency in 2004, and in 2007 he received an honorary Ph.D. from Dartington College of Arts, University of Plymouth. Goulish is Provocations editor for The Drama Review, and he teaches in the MFA and BFA Writing Programs of the The School of the Art Institute of Chicago.
Lin Hixson co-founded Goat Island in 1987, and Every house has a door in 2008. She is full Professor of Performance at The School of the Art Institute of Chicago, and received an honorary doctorate from Dartington College in 2007. Goat Island created nine performance works and toured extensively in the US, England, Scotland, Wales, Belgium, Switzerland, Croatia, Germany, and Canada. Her writing on directing and performance has been published in the journals P-Form, TDR, Frakcija, Performance Research, Women and Performance, and Whitewalls; and included in the anthologies Small Acts of Repair – Performance, Ecology, and Goat Island, Live Art and Performance, Theatre in Crisis?, and the textbook Place and Placelessness in Performance. Hixson has directed two films, Daynightly They re-school you The Bears-Polka and It’s Aching Like Birds, in collaboration with the artist Lucy Cash and Goat Island.
