| Part title |
Movements with blindfold |
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| Part identifier |
P00000031 |
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| Part type |
Gestural |
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| Part creator |
Layzell, Richard |
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| Part medium |
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| Part description |
“This is the time I shouldn't have. This really, this is not. It's a good floor, great floor, BEB44 [repeated]". Richard pulls the blindfold out of his jacket pocket, takes the jacket off then drops it to the side at front of the stage. He puts the blindfold on facing the audience, lifts his shoulders up unevenly and takes a couple of steps backwards, briefly holding his hands in front of his body. He begins to bend his knees, then stops and tilts his face and body to the side. He lifts his right hand up to his nose and steps backward, his movements uncertain and fidgety. He then starts to shake his head leaning slightly to the right. His right hand raises up to touch his head and he begins to clear his throat or perhaps make a throaty 'ha ha' sound. Jerking forward, both his hands briefly come up to make a slightly animal-like pose, which is immediately broken when both hands are placed back onto bent knees. Both hands move to the floor and Richard begins to crawl or slide, feeling the floor. His movements appear improvised; resembling an animal and yoga postures. He moves into a crouched position and feels for the cleaning cloths with his hands. He then moves to a seated position on the floor, facing the audience, and hugs his legs which are bent up close to his chest. Partially cross-legged, he crouches, stands up and touches the blindfold as if to remove it, but doesn't. He begins speaking “BEN44”, makes a 'T' signal with his hands (to the technician) and electronic music begins. Hands on head, Richard clasps his palms over his ears like head phones. “I'm in Tap, Ruffle and Shave (1995-8)”, Richard remembered later, “the choking, or throaty cough is a reference to Move the Rabbit (1987), which is in some ways one of the most powerful performances I've ever done. The movements reference Dancing on the Mountain (1989). I'm feeling vulnerable here, I've gone into myself. The music refers to a particular relationship in 1984". |
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| Provenance |
Description compiled via interview with Richard Layzell, University of Bristol, 2008. |
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