“Time Had a Job” by Fire Drill
Red Eye Theater Works-In-Progress
May 30, 2014
Let me quote Wikipedia’s article on time, “Time is a dimension and measure in which events can be ordered from the past through the present into the future, and also the measure of durations of events and the intervals between them.” Now may I present you with the ninth statement from Fire Drill’s artist statement, Marten Spangberg’s quote, “The contemporary can’t be measured, localized, when it is put into the program it’s already over.”
“Time Had a Job” is a series of 150 six-second-long episodes of dance/performance. I was not able to verify these facts during the performance, despite my best efforts, but this info comes straight from Fire Drill themselves.
The contents of each episode varied from undulating stomachs, modern, post-modern, or contemporary dance phrases, and lots of other things too, such as Billy Mullaney crouched behind Emily Gastineau and shouting, “My name is Emily Gastineau.” There were also moments of absurd facial expressions and jumping. A lot of the dance phrases were done in unison. The majority of the episodes were not in unison. Both Billy and Emily were dressed in sleeveless, full-leg unitards with a black and white houndstooth pattern. The houndsteeth seemed to be larger on Billy’s unitard than on Emily’s. The unitards were purchased from “www.onlyleggings.com” (which apparently does not only sell leggings), and which is also the tenth statement of their artist statement in the Works-In-Progress program.
What I haven’t told you yet is that each episode had a unique six-second sound score and there was also a black out in between each one. Laughter rolled around the audience for a good while. I struggle to recall much of the exact choreography, but I can recall exactly many of the soundscores: Homer Simpson, Eric Cartman cussing out his mother, Tchaikovsky’s “Dance of the Little Swans,” the Bach cello suites, Hillary Clinton, screaming babies, the Lucasfilm THX intro sound… Not just the length of each episode, but also the soundscore is an intervention in the efficacy of the movement.
So what is “Time Had a Job” pointing at? Smart dumb (they say so themselves). Contemporary performance and its atmosphere, at least within the definitive aesthetics of our time (and place).