The Fluxus Reader By: Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear.
The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience.
As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience.
On one side of these sheets was a kind of manifesto: As the evening progressed, Fluxus performers presented the audience with the latest experiments in music, in particular something called action music.
The third and the fourth pieces of the concert, Higgins' Constellation No 7 and Constellation No 4, were performed by Maciunas, Vostell, Schmit, Trowbridge, Klintberg, Koepcke, Spoerri and Paik, and had become a kind of set piece for these festival performances. Higgins described the performance of Constellation No 4 as follows: Each performer chooses a sound to be produced on any instrument available to him, including the voice.
The sound is to have a clearly defined percussive attack and a delay which is no longer than a second Words, crackling and rustling sounds, for example, are excluded, because they have multiple attacks and decays.
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The performers begin at any time when they agree they are ready. Each performer produces his sound as efficiently as possible, almost simultaneously with the other performers' sounds.
As soon as the last decay has died away, the piece is over. The masked Williams performed the first version of his Counting Song, in which the performer counts the audience aloud from the stage.
At the same time Spoerri, seated at the same table that had been used by Wilhelm, performed his work, which was a verbal transmogrification of Wilhelm's introductory speech.
This piece was performed by Schmit and Williams starting at the left side of the stage, with Schmit holding one end of a two-inch-wide ribbon and Williams holding the rest of the rolled-up ribbon.
Williams then walked to the right side of the stage, thereby stretching the ribbon across the mouth of the stage. After this action was complete, Maciunas walked centre stage and cut the ribbon in half.
Using the adding-machine tapes as a score they execute their assigned action each time their number occurs. The Fluxus performance festival held at the Dusseldorf Art Academy on February was a significant historical marker in the early development of the Fluxus group.
The Dusseldorf performance had been preceded in the autumn and winter of by Fluxus festivals in Wiesbaden, Copenhagen and Paris, and was subsequently followed in the spring and summer of by festivals in Amsterdam, The Hague and Nice.
These changes are significant for they would continue directly to shape the philosophical nature and historical development of the Fluxus group over the next several decades. The festival at Dusseldorf had been jointly organised by Joseph Beuys who was a faculty member of the Dusseldorf Art Academy, and one of the organisers of the Fluxus Group, George Maciunas.
This association, as so often happened in the history of Fluxus, was not so much a collaboration of like-minded artistic innovators as a much more mundane affiliation of friends of friends who needed a performance space for their experimental work most importantly for a performance.Marie Frisholm gillar detta.
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