https://eirinikartsaki.com ekartsaki Mon, 14 Oct 2024 14:53:35 +0000 https://eirinikartsaki.com en https://eirinikartsaki.com/Home Wed, 27 Sep 2023 09:20:12 +0000 ekartsaki https://eirinikartsaki.com/Home EIRINI KARTSAKI Writer, Performance Maker &amp; Lecturer https://eirinikartsaki.com/Biography Wed, 27 Sep 2023 09:20:12 +0000 ekartsaki https://eirinikartsaki.com/Biography Biography &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/cfe19f7fd0bfaf67d60ded70eb12c520645c819756350bd55f941aa86fa71549/EiriniKartsaki-by-Christa-Holka-1Dec22-053web.jpg" data-mid="192005597" border="0" data-scale="77" src="https://freight.cargo.site/w/800/i/cfe19f7fd0bfaf67d60ded70eb12c520645c819756350bd55f941aa86fa71549/EiriniKartsaki-by-Christa-Holka-1Dec22-053web.jpg" /> I am a writer, performance maker and senior lecturer in East15 Acting School, University of Essex. My work explores sexuality, excess and female desire. My recently completed project NO MORE CHILDREN explores the compulsion towards a reproductive futurity. I have been awarded the Audiences Award and the Champe Libre Award for my work with Tante&amp;Tante.I am currently working on a new monograph on theatres of the weird, which propose moving beyond the confinements of the norm and opening a space where we do not need to make sense in relation to prescribed categories. I have presented work in Tate Britain, V&amp;A, Whitechapel Gallery, Sadler's Wells, Camden People's Theatre, Arnolfini, The Yard, Chisenhale Dance Space, Palais de Tokyo, amongst others. My work is supported by Arts Council England. contact: ekartsaki@gmail.com (but do not stalk me please) &nbsp; &nbsp; &nbsp; &nbsp; PHOTO BY CHRISTA HOLKA https://eirinikartsaki.com/Footer Wed, 27 Sep 2023 09:20:12 +0000 ekartsaki https://eirinikartsaki.com/Footer <img width="724" height="1994" width_o="724" height_o="1994" data-src="https://freight.cargo.site/t/original/i/26ef7ed6df3e0305a83bb3379c5584a9cfad9ec0d9dc60efa2ccd9d314d94766/erini-website1.png" data-mid="191984779" border="0" src="https://freight.cargo.site/w/724/i/26ef7ed6df3e0305a83bb3379c5584a9cfad9ec0d9dc60efa2ccd9d314d94766/erini-website1.png" /> https://eirinikartsaki.com/In-a-Way-So-Brutal Wed, 27 Sep 2023 09:28:53 +0000 ekartsaki https://eirinikartsaki.com/In-a-Way-So-Brutal In a Way so Brutal A performance about human monsters and giving into our own monstrosity; about taking things apart, shouting at the void, opening up as a way of opening out. We explore the experience of being (in) a body that is restless, unbridled, governed by ungovernable desires. We embrace contradiction and ambivalence. We work with vocal experimentation, sonic and verbal improvisation, to create imaginary landscapes and narratives that address the monstrous, the odd and the weird in the relationship with ourselves, our bodies and each other. A collaboration between performance maker Eirini Kartsaki and electroacoustic music composer/performer Tasos Stamou. <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8d48fb0039909056a566a81099200ca075d1ca2804bf1f2da3d5d7f728dd29bf/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-067web.jpg" data-mid="191981978" border="0" src="https://freight.cargo.site/w/800/i/8d48fb0039909056a566a81099200ca075d1ca2804bf1f2da3d5d7f728dd29bf/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-067web.jpg" /> <img width="1140" height="760" width_o="1140" height_o="760" data-src="https://freight.cargo.site/t/original/i/91d47c3d2ac60dcb0aa9732043c841ba71ce0146e8718b4f4e9b004be2c32d8e/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-032web.jpg" data-mid="191981972" border="0" src="https://freight.cargo.site/w/1000/i/91d47c3d2ac60dcb0aa9732043c841ba71ce0146e8718b4f4e9b004be2c32d8e/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-032web.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/afabb652da7b638740785d63aab986538727ea825d378d60df3a93a5f7b1f71d/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-019web.jpg" data-mid="191981969" border="0" src="https://freight.cargo.site/w/800/i/afabb652da7b638740785d63aab986538727ea825d378d60df3a93a5f7b1f71d/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-019web.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/66494cbecf4220a8fd23568b9eb663f7b81f8a0983919624f768f7300b4cde0f/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-068web.jpg" data-mid="191981977" border="0" src="https://freight.cargo.site/w/1000/i/66494cbecf4220a8fd23568b9eb663f7b81f8a0983919624f768f7300b4cde0f/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-068web.jpg" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/e6ceb9ef13ddf164be2f86cbbc140d6238d8e1065bfbcc56e9bb6c28c2e1ff0c/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-037web.jpg" data-mid="191981973" border="0" src="https://freight.cargo.site/w/1000/i/e6ceb9ef13ddf164be2f86cbbc140d6238d8e1065bfbcc56e9bb6c28c2e1ff0c/EiriniKartsaki-IAWSoBrutal-by-Christa-Holka-21Jan20-037web.jpg" /> PHOTO BY CHRISTA HOLKA 'Kartsaki sings like a wound throbs' - Emily Davis, Exeunt Review The Spy in the Stalls In a Way so Brutal ★★★★-- Rebecca Crankshaw, The Spy in the Stalls Review https://eirinikartsaki.com/Herpes Wed, 27 Sep 2023 09:20:12 +0000 ekartsaki https://eirinikartsaki.com/Herpes Herpes HERPES is a refusal to settle down or settle in. It says I want to live my life as if it is mine, because it is mine. Even when what you hear on repeat is: get a husband. Get a mortgage. Have a baby. Be sensible. Be sensible. Be sensible. <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/bc3d01665c4bce3762102080291fd349a566996fbf44838d03a69d7ea670dcbe/EiriniKartsaki-Herpes-by-Christa-Holka-16Apr19-515web.jpeg" data-mid="191985766" border="0" src="https://freight.cargo.site/w/1000/i/bc3d01665c4bce3762102080291fd349a566996fbf44838d03a69d7ea670dcbe/EiriniKartsaki-Herpes-by-Christa-Holka-16Apr19-515web.jpeg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/b99b441dbbbf3f5dd864a6344a07883f80eb10a4d5417f8f6b84d3d27d30228d/Stakehouselive2018_1446.jpg" data-mid="192232281" border="0" src="https://freight.cargo.site/w/1000/i/b99b441dbbbf3f5dd864a6344a07883f80eb10a4d5417f8f6b84d3d27d30228d/Stakehouselive2018_1446.jpg" /> <img width="1881" height="2821" width_o="1881" height_o="2821" data-src="https://freight.cargo.site/t/original/i/df82ba1aed1b3877f487e3d8a6ae7dc7deb2151077566a3fc61e9c787d86b567/Stakehouselive2018_1454-copy.jpg" data-mid="192232195" border="0" src="https://freight.cargo.site/w/1000/i/df82ba1aed1b3877f487e3d8a6ae7dc7deb2151077566a3fc61e9c787d86b567/Stakehouselive2018_1454-copy.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/00b915c4528c01f1b19632f53da464eba4686171a725c8265798d05651d36427/Eirini--Herpes--First-Look-11.jpg" data-mid="192232232" border="0" src="https://freight.cargo.site/w/1000/i/00b915c4528c01f1b19632f53da464eba4686171a725c8265798d05651d36427/Eirini--Herpes--First-Look-11.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/62733fdd677a55b9687bf0ab9e3eca52c845926291012abce9ca109de01cb737/Eirini--Herpes--First-Look-6.jpg" data-mid="192232236" border="0" src="https://freight.cargo.site/w/1000/i/62733fdd677a55b9687bf0ab9e3eca52c845926291012abce9ca109de01cb737/Eirini--Herpes--First-Look-6.jpg" /> PHOTO 1 BY CHRISTA HOLKA, 2-3 BY MANUEL VASON, 4-5 BY DANI HARVEY 'Who would have thought Herpes could generate something so smart and so &nbsp;funny?' &nbsp;Lois Keidan, Director, Live Art Development Agency 'Strenuously surreal observations into the human heart! If Herpes is c &nbsp;contagious, you'll wanna catch it!'&nbsp;Stacy Makishi, Artist 'Kartsaki is a performer who knows what she wants to achieve from her work, &nbsp;disregarding the notion of pleasure in the audience's experience in exchange for clarity and impact of meaning. Herpes is a fascinating piece of work that achieves its message, while foregrounding the personality of a talented and intelligent performer.' &nbsp;Rachel Baker, The List&nbsp; https://eirinikartsaki.com/Obsessions-of-a-Showwoman Mon, 14 Oct 2024 14:14:11 +0000 ekartsaki https://eirinikartsaki.com/Obsessions-of-a-Showwoman Obsessions of a Showwoman: The Performance Worlds of Marisa Carnesky →&nbsp;Available here &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="1646" height="2362" width_o="1646" height_o="2362" data-src="https://freight.cargo.site/t/original/i/5b8a82c7fb59c11a6454d62ffcaf8145f070f1597c12b17f3e3b8bab7a4ac432/MC_FRONT_COVER_01.jpg" data-mid="219720549" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/5b8a82c7fb59c11a6454d62ffcaf8145f070f1597c12b17f3e3b8bab7a4ac432/MC_FRONT_COVER_01.jpg" /> After three years of intense collaborative work, Obsessions of a Showwoman: The Performance Worlds of Marisa Carnesky is finally ready! &nbsp;Marisa Carnesky has been a pivotal figure in performance and live art over the past thirty years. As a Showwoman, she champions alternative visions of matriarchal entertainment utopias and redefines women’s relationship with power and politics.The book foregrounds the important lineage of incredible women working across performance, live art and cabaret and asks how the term ‘Showwoman’ can transgress the figure of the showman as a provider of the spectacular. It encourages the showgirl to finally graduate into adulthood.Designed by the inimitable David Caines 'Finally! A text that celebrates and explores the spectacular work of Marisa Carnesky. Too complex and profound to categorise, Carnesky weaves history, gender, class, theatrical tradition and the Carnevale to perform a radical questioning of ourselves and our worlds. Always fearless and fierce, yet tender and generous, Carnesky’s work captivates, antagonizes, caresses and provokes, as all art should.' Heidi James, Author 'Marisa Carnesky, Our Lady of Illusions, has long stretched the limits of Live Art, always embedding a polemic in the vignettes that make up her attractions. Carnesky’s chops were cut on burlesque, vaudeville and side-show circuits, and she continues to carve her own reality and create pivotal new contexts. Brava!' Ron Athey, Artist 'Marisa Carnesky is a romantic, rebellious and radical figure in the early 21st century wave of British arthouse popular performance. From large scale spectacle to intimate confessional her work draws on forgotten theatrical legacies like Grand Guignol and Ghost Trains and puts them through a post-punk feminist mixer. This book is a brilliant parade of her canon, her influences and her co-conspirators.' Simon Casson, Producer, Duckie 'Artists working with the mercurial liquidity of experimental forms of live art need books, books to capture and captivate, books to distribute and disseminate, books that celebrate and marvel, books that misbehave a little and defy easy categorisation.This book glitters and glimmers with Marisa’s multifaceted and extraordinary life work. It examines the multiple forms she has pioneered and stages the myriad voices of others, collaborators and interlocutors, as Marisa always has done within her works, creating and supporting communities of trouble, of art, or both.' Kira O’Reilly, Artist Cover image: Marisa Carnesky, Tattooed Lady, Manuel Vason Studio, 2011. © Manuel VasonImage Right: Marisa Carnesky, The Grotesque Burlesque Revue, 1996. London. Costume and &nbsp; photo by Amanda Moss. © Amanda Moss <img width="481" height="691" width_o="481" height_o="691" data-src="https://freight.cargo.site/t/original/i/0487587bf93d62c6f475dd4a418cd3137ceed93591fad2c76991721f2cb8bfa1/image.jpg" data-mid="219720815" border="0" data-scale="78" src="https://freight.cargo.site/w/481/i/0487587bf93d62c6f475dd4a418cd3137ceed93591fad2c76991721f2cb8bfa1/image.jpg" /> ERRATA PAGEIn the printed book, the name of the interdisciplinary &nbsp;artist, activist and academic&nbsp;Beth Stephens has been mispelled on pp. 6 and 91. We apologise and we will correct this when the book is re-printed.This has already been corrected in the e-book version.&nbsp; https://eirinikartsaki.com/Repetition-In-Performance Wed, 27 Sep 2023 09:20:13 +0000 ekartsaki https://eirinikartsaki.com/Repetition-In-Performance Repetition in Performance︎ available here My monograph thinks about spectatorship and repetition and the precarious, incomplete and unpredictable pleasures that derive from such encounter. It proposes that an erotic, physical, urgent type of spectatorship is at stake here, one that enables returns to the site of performance through the force of repetition, that is always invisible. <img width="498" height="708" width_o="498" height_o="708" data-src="https://freight.cargo.site/t/original/i/f6f6ac68b1a50b7ab3506ba9e240e641ea3a9dc96644dcba98fb9a866d4b06f0/Screen-Shot-2018-06-19-at-09.10.30.png" data-mid="191984104" border="0" src="https://freight.cargo.site/w/498/i/f6f6ac68b1a50b7ab3506ba9e240e641ea3a9dc96644dcba98fb9a866d4b06f0/Screen-Shot-2018-06-19-at-09.10.30.png" /> “Beautifully written, this book lingers, leans in, and takes its time.&nbsp; Brimming with deep and precise probing, Kartsaki compels us to think again about what happens in the interval of a minor gesture, repeated. Back and forth, to the side and among media -- painting, performance, installation, dance, writing -- this book charts ricochet and makes a sustained critical and experiential contribution to the scholarly exploration of repetition essential to theatre and performance studies.&nbsp; For Kartsaki, repetition’s force is the force of desire, and she rides that desire through a rigorously visceral engagement with art, performance, and philosophy. As she says: “This discourse is personal, performative and wants stuff.” Fair enough. It gets the stuff that it wants. And we, as readers, find ourselves wanting more. If you like this book, as I do, read it twice. In her words, this time, “linger, lean in, take your time.”&nbsp; Professor Rebecca Schneider, Professor of Theatre Arts and Performance Studies, Brown University https://eirinikartsaki.com/On-Repetition-Writing-Performance-Art Wed, 27 Sep 2023 10:54:53 +0000 ekartsaki https://eirinikartsaki.com/On-Repetition-Writing-Performance-Art On Repetition: Writing, Performance &amp; Art On Repetition aims to unpack the different uses and functions of repetition within contemporary performance, dance practices, craft, and writing. The collection, edited by Eirini Kartsaki, explores repetition in relation to intimacy, laughter, technology, familiarity, and fear—proposing a new vocabulary for understanding what is at stake in works that repeat. Drawing on psychoanalysis, philosophy, linguistics, sociology, and performance studies—and employing case studies from a range of practices—the essays presented here combine to form a unique interdisciplinary exploration of the functions of repetition in contemporary culture. <img width="946" height="1280" width_o="946" height_o="1280" data-src="https://freight.cargo.site/t/original/i/b6cd1e6b8e8eaff0bd1ca779f8c62f596ab7703ce380b7fb9445c3c04d074a5c/9781783205776.jpeg" data-mid="191988723" border="0" src="https://freight.cargo.site/w/946/i/b6cd1e6b8e8eaff0bd1ca779f8c62f596ab7703ce380b7fb9445c3c04d074a5c/9781783205776.jpeg" /> Performance Matters "On Repetition: Writing, Performance &amp; Art offers a rich exploration of repetition as a complex and vital device across a range of creative contexts, including theatre, dance, performance art, stand-up comedy, music, film, and poetry....A major strength of this particular collection lies in its multidisciplinarity and its theoretical breadth.... a useful and engaging guidebook to an often under-analyzed and under-considered phenomenon, breathing new life into areas that perhaps have appeared well trodden and overlooked through its careful navigation of the creative possibilities of repetition." - Nathan Flaig https://eirinikartsaki.com/Posters Wed, 27 Sep 2023 13:03:16 +0000 ekartsaki https://eirinikartsaki.com/Posters Posters <img width="2061" height="2914" width_o="2061" height_o="2914" data-src="https://freight.cargo.site/t/original/i/c35f7c8cfdd8d5adefd0151ccd8efa27810df9b2041e17cfe4942f5c7e6656e0/Scannable-Document-on-28-Feb-2023-at-16_06_05.jpg" data-mid="192004222" border="0" src="https://freight.cargo.site/w/1000/i/c35f7c8cfdd8d5adefd0151ccd8efa27810df9b2041e17cfe4942f5c7e6656e0/Scannable-Document-on-28-Feb-2023-at-16_06_05.jpg" /> <img width="976" height="1200" width_o="976" height_o="1200" 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data-src="https://freight.cargo.site/t/original/i/a079f4acb5729d3281e304d0f698c4f343115042a1b3dec37676796eed98a4d9/IMG_9943.jpeg" data-mid="192004208" border="0" src="https://freight.cargo.site/w/1000/i/a079f4acb5729d3281e304d0f698c4f343115042a1b3dec37676796eed98a4d9/IMG_9943.jpeg" /> <img width="1440" height="1800" width_o="1440" height_o="1800" data-src="https://freight.cargo.site/t/original/i/e86a66af6fd3fc31bd3da0c5ab59f1225383c580a9556c99fc1f2d1365a7997f/A194EF62-CC99-4581-864A-91967B28823D.jpeg" data-mid="192567922" border="0" src="https://freight.cargo.site/w/1000/i/e86a66af6fd3fc31bd3da0c5ab59f1225383c580a9556c99fc1f2d1365a7997f/A194EF62-CC99-4581-864A-91967B28823D.jpeg" /> <img width="2435" height="2941" width_o="2435" height_o="2941" data-src="https://freight.cargo.site/t/original/i/ecf409d01842e3a7fc3f879fe8c31d1cf44930c4684092ff965bde611d33b14b/Untitled.jpg" data-mid="192568810" border="0" src="https://freight.cargo.site/w/1000/i/ecf409d01842e3a7fc3f879fe8c31d1cf44930c4684092ff965bde611d33b14b/Untitled.jpg" /> <img width="2448" height="3060" width_o="2448" height_o="3060" data-src="https://freight.cargo.site/t/original/i/901400654a19ed2c50dffcf920b98a10c1fd808c57b16ffe6e6c7ab19d89d1fa/526BB1F8-B6D7-4499-9B6D-B5255FE6788A.jpeg" data-mid="192608669" border="0" src="https://freight.cargo.site/w/1000/i/901400654a19ed2c50dffcf920b98a10c1fd808c57b16ffe6e6c7ab19d89d1fa/526BB1F8-B6D7-4499-9B6D-B5255FE6788A.jpeg" /> https://eirinikartsaki.com/Weird-Women Mon, 14 Oct 2024 14:53:35 +0000 ekartsaki https://eirinikartsaki.com/Weird-Women Weird Women <img width="4416" height="3312" width_o="4416" height_o="3312" data-src="https://freight.cargo.site/t/original/i/8558c55810d68bedd854c67ccc5297d7bc5da2241647ed28117b9fcb5240bb2b/IMG_0081.JPG" data-mid="219721721" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8558c55810d68bedd854c67ccc5297d7bc5da2241647ed28117b9fcb5240bb2b/IMG_0081.JPG" />&nbsp;Image above: Narcissister, Winter/Spring Collection, 2012. Los Angeles. © A.L. Steiner <img width="951" height="1280" width_o="951" height_o="1280" data-src="https://freight.cargo.site/t/original/i/2e894845a97710306786d6d8bc465074d0edca5991107aaf7e50b8edac669ae3/Cosey-Fanni-Tutti.jpg" data-mid="219790592" border="0" src="https://freight.cargo.site/w/951/i/2e894845a97710306786d6d8bc465074d0edca5991107aaf7e50b8edac669ae3/Cosey-Fanni-Tutti.jpg" /> Image above: Cosey Fanni Tutti, Marcel Duchamp’s Next Work, COUM Transmissions, 1974. London © Courtesy COUM Transmissions and Cabinet → &nbsp;Available here on Open Access Weird women, this chapter proposes, are artists who challenge boundaries and are uneasy within neat, already existing categories of art, sex, identity, and desire. Their existence is emphatic; yet the categories we already have cannot account for the complexity of who they are. Weird women seem to suggest that a new language is necessary, one that will point towards our unnamed desires, blind spots, and unknowns. The weird not only points to something we do not yet have the language for but also demands a reconsideration of its articulation. The weird could be thought of as another category, but more accurately as a fascination with the uncategorized. Weird women continuously evolve and refuse categories, embracing mutation and hybridization as ways of being. Their weirdness creates a rupture into the familiar through which a new understanding of who we are and how we perceive ourselves emerges. This new, weird understanding or conceptualization embraces the unfamiliar, the uncategorized, the inscrutable or unintelligible as tools for unbuilding walls and building forms of belonging. I discuss Carnesky’s work as well as other women artists that, like Carnesky, have been preoccupied with the task of disarticulating identity. I primarily focus on artists such as Rocio Boliver, Cosey Fanni Tutti, Narcissister, Lydia Lunch, and Kathy Acker and on how their articulations of identity might lead to a collective, weird ‘I’. These artists’ collective illegibility and refusal to fit in forms part of the space of the weird.Image below: Rocio Boliver, Needle Striptease, curators Benjamin Sebastian and Bean on behalf of ]performance space[, 2012. London © Marco Berardi <img width="2297" height="3445" width_o="2297" height_o="3445" data-src="https://freight.cargo.site/t/original/i/a2c5e76c6dc3ded2b2151e550e4cc8dc1cbfcac4d20c301ce40b5dd99bcedaa9/8-ST-IMG_5259.JPG" data-mid="219790645" border="0" src="https://freight.cargo.site/w/1000/i/a2c5e76c6dc3ded2b2151e550e4cc8dc1cbfcac4d20c301ce40b5dd99bcedaa9/8-ST-IMG_5259.JPG" />