Hind, Claire and Winters, Gary (2015) Crying in the Dark. [Performance]
![[img]](/967/1.haslightboxThumbnailVersion/Crying%20in%20the%20Dark%20Image%20photo%20by%20Hind%20and%20Winters.png)
![[img]](/967/6.haslightboxThumbnailVersion/Crying%20In%20The%20Dark%20Image.jpg)
| Item Type: | Performance |
|---|---|
| Creators: | Hind, Claire and Winters, Gary |
| Abstract: | Crying In The Dark From sunset to sunrise Gary Winters and Claire Hind presented a space to encounter the chart-topping, much-sung, universally-covered, Roy Orbison rock-bolero ballad ‘Crying’.Listen, perform, cry, repeat. There he was in the dark; fragile, sensitive and with limited longevity. |
| Date: | 24 April 2015 |
| Funders: | National lottery through Arts Council England |
| Event Title: | Dark Sound Desctructive Pop (Conference). |
| Event Location: | University of Falmouth |
| Event Dates: | 23rd - 25th April 2015 |
| Additional Information: | the performance of Crying in the Dark (2015) presented as a participatory performance at the conference Dark Sound Destructive Pop, Falmouth University 2015. We created a space to perform Roy Orbison’s song Crying as a durational overnight performance ghosting the entertainment form of karaoke. Orbison’s Crying was performed all night from 8.51pm to 5.13am except for the 90-second break after the end of each song for the costume change. At 8.51pm Claire sings the first Crying of the evening to the audience of Gary. At 8.55pm Gary sings to an audience of Claire. We repeatedly sang until the audience trickled in around 9.25pm. The audience stayed for a few hours, not all participated. Those who did offered varied performances. Someone sang their heart out, a mum sang for her daughter, a crowd of enthusiastic karaoke fans repeated their turn. Some wished us well, some said they would be back. This work can be cross-referenced with a chapter entitled The Dead Karaoke, Hind, C & Winters, G, Embodying The Dead, Writing, Playing, Performing, Macmillan HE. It consists of piece of writing that documents the 69 performances of the whole. We also discuss the conceptual framework of the project, in this chapter including the participants’ engagement, and our own experience of performing for the duration through the lens of play while referring to elements of the Death Drift / Drift Drive. We end the chapter with a critical discussion on the phenomena that is ‘the man in black’s’ complex masochistic aesthetic, intrinsic to the sound of the Orbison voice, significantly placed in David Lynch’s movie; Blue Velvet (1986). We discuss the concept of desire through Lacanian psychoanalytic framework and draw upon a Deleuzian context of Braziel’s definition of Femm(e)rotics to contextualize how Lynchian artifices, specifically the lip-sync, embody the dead. |
| Subjects: | N Fine Arts > NX Arts in general |
| School/Department: | School of the Arts |
| URI: | https://ray.yorksj.ac.uk/id/eprint/967 |
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