Living History as Performance Art

[OldKingCrow]

Re: Living History as Performance Art

Hallo!

I believe where the opposition if not rejection of the "acting" connotation and denotation comes into play is in self-defining the Performance Art of reenacting/living history where acting is:

1. taking on the role, character, and identity of a real, made up, or composite person and "presenting" that performance to an audience

2. and is not just a bunch a guys or gals or kids wearing funny costumes and shooting blanks at one another for recreation, sport, pasttime, avenues or academic windows into researching more about actual Life in the Past and actual History.

CHS

I don't see opposition or rejection here at all. I dont see fear or reluctance, but respect of the presentation of sound historical fact to an audience. Most folks dig an audience. Perhaps too much. I think what is offered here is pure good faith caution and wise counsel by even minded men in this thread (not me) about the slippery slope and more times than not, plain bogusness of "acting" turned away from the hard historical record and into the realm of well-intentionedprobabilities.

No different than any other aspect or discipline here in the deep end of the pool. Fill yer tool box full o' duly researched Man / Method / Materials and go about your duties in that context. You do not have to convey some historical ditty or back story brilliance with ev'r breath of the event.

Spend time mastering known, research supported speech patterns, greetings, courtesies, slang, curse words, colloquialisms, societally popular cultural aspect and other period mannerisms....and as importantly the context and company in which they are used.... that can be found digging in the words of the original "cast" itself.

The first person will flow.

C. Rideout
Tampa, Florida
Residing in a veritable Back Story Desert (Needing Federal Grant)

[Hank Trent]

Re: Living History as Performance Art

Hank, I think you and I are closer to the same definition, but I am always interested in bringing new people into the activities and events I feel are worth attending.

Same here. But when they say they're intimidated, well, I don't know what they want. The implication seems to be that I should try to be farbier to make them more comfortable. I've actually had people tell me a few times that I should compromise (i.e. be farbier) to fit in better. Uh, no. I'm farby enough without trying to be worse, thank you! LOL! Would they tell someone to put on a baseball cap because accurate clothes intimidated them? The most I'll try to do is stay away from people who don't want me around, just for politeness' sake, but I won't bore myself to please others, nor would I expect them to bore themselves to please me.

I'm reasonably polite on the forums, I invite people along, but in the end, I dunno how to get people to events. They either want it bad, or they think it's not worth the extra effort of travel or inconvenience (or they can't stand it, but that's another issue). I'd rather reenact than recruit.

Are you going to In the Van? Westville? Unfortunately, they're as east as I'm going to this year, but there's also the Revival out in Missouri in September that I'll be at. What's going on in your area, c/p/h-immersion wise?

Hank Trent
hanktrent@gmail.com

[LindaTrent]

Re: Living History as Performance Art

I think one thing that really helps is when a vast amount of information is delivered to event participants weeks or months prior to the event. I love having the opportunity to see the actual period newspapers, magazines, ledgers, or even excellent secondary sources describing in detail the occurances that we're about to portrary. So much great stuff is online these days, and FREE! Being able to read the "latest" edition of the Ladies' Repository, or the Debow's Review, not only helps to prepare me mentally for an event, but it also broadens my own knowledge.

When I first started reenacting I had little respect for the Southern people of the era, but from having to read and get to know their thoughts, their hopes and fears, and things like that I've gained a deep respect for them. So to me studying about the period is something that has been a great benefit not just in providing me with magic weekend, but also in my 20th and 21st century understanding of the people. When I say that I'm including my own ancestors as well, some from Maryland and Virginia who owned slaves, and some from Kentucky who were the poor white trash.

I love reading up about law, and knowing what rights women had at certain points. I love reading about earlier decades during which my 1860s persona grew up, for those years helped to define who my character became. I try to decide what my character's personality would be like. Would she be bold and courageous, or would she be timid and shy? I like taking on new challenges from time to time, and being a widow being courted is more fun because then Hank and I have more things we can talk about.

If my character is just passing through I need to know how I got to where I am, and why I'm here. Oftentimes this involves having tickets for the cars, or the stage... To me, the pre-event study helps me to get in the proper mind-set for the event, and allows me to converse on various topics and not just what I'm doing.

Again, to me it's all about getting into their minds and gaining a greater understanding of who they were. Then I can take that understanding and make the "then" happen.

I don't know if any of this made sense -- it may be just mindless ramblings of an aging lady. :)

[Pvt Schnapps]

Re: Living History as Performance Art

I think one thing that really helps is when a vast amount of information is delivered to event participants weeks or months prior to the event. I love having the opportunity to see the actual period newspapers, magazines, ledgers, or even excellent secondary sources describing in detail the occurances that we're about to portrary. So much great stuff is online these days, and FREE! Being able to read the "latest" edition of the Ladies' Repository, or the Debow's Review, not only helps to prepare me mentally for an event, but it also broadens my own knowledge.

When I first started reenacting I had little respect for the Southern people of the era, but from having to read and get to know their thoughts, their hopes and fears, and things like that I've gained a deep respect for them. So to me studying about the period is something that has been a great benefit not just in providing me with magic weekend, but also in my 20th and 21st century understanding of the people. When I say that I'm including my own ancestors as well, some from Maryland and Virginia who owned slaves, and some from Kentucky who were the poor white trash.

I love reading up about law, and knowing what rights women had at certain points. I love reading about earlier decades during which my 1860s persona grew up, for those years helped to define who my character became. I try to decide what my character's personality would be like. Would she be bold and courageous, or would she be timid and shy? I like taking on new challenges from time to time, and being a widow being courted is more fun because then Hank and I have more things we can talk about.

If my character is just passing through I need to know how I got to where I am, and why I'm here. Oftentimes this involves having tickets for the cars, or the stage... To me, the pre-event study helps me to get in the proper mind-set for the event, and allows me to converse on various topics and not just what I'm doing.

Again, to me it's all about getting into their minds and gaining a greater understanding of who they were. Then I can take that understanding and make the "then" happen.

I don't know if any of this made sense -- it may be just mindless ramblings of an aging lady. :)

It makes perfect sense. The fun of it is in the learning.

The doing, or "acting," or "performance," is a byproduct of that learning. And -- at the risk of repeating myself -- it is indeed fun.

[OldKingCrow]

Re: Living History as Performance Art

I'm reasonably polite on the forums, I invite people along, but in the end, I dunno how to get people to events. They either want it bad, or they think it's not worth the extra effort of travel or inconvenience (or they can't stand it, but that's another issue). I'd rather reenact than recruit.

Hank Trent
hanktrent@gmail.com

There are other reasons Hank that are not distance, effort or expense related. You might find it isn't for a lack of want either, they "want it bad" too, some have even stuck their toes in the deep end of the pool, having traveled great distances, expending consideralble effort and finances.

You are recruiting for the pinnacle of the major league events, intended for the 7% elite of the hobby. This is right and how it should be. We have on the whole as a society dumbed "elite" and "accomplished" out of modern sensibilities and want to make the playing field level and accessible to everyone, which only dilutes your time travel potency and manifests itself in the type of occurrences and actions by event participants which you bemoan.

I have said it before, we need history heavy events, where regular ole, soup sandwhich, ham and eggers can get their history on, far from the 'Stream and not impacting the outstanding things and events y'all put on at the most accomplished level.

Chris Rideout
Tampa, Florida

[Bill Cross]

Re: Living History as Performance Art

But when they say they're intimidated, well, I don't know what they want. The implication seems to be that I should try to be farbier to make them more comfortable.

I can't address what people might have said to you in the past, but that's not the take-away from this anyone should have. BIRD applies to attitude as much as to kit, etc.

If I want to attend an event, but feel my kit isn't up to par, I am intimidated. But I can't expect the event to lower its standards for me. I have to improve my kit, even if it's a process over time. Many events will explicitly state what uniform parts and accouterments are expected, but make allowances for people on a budget who are at least trying. It's up to the individual to attempt the transformation. But reassuring them they're welcome is an important component of the process, and those who thunder on forums (and I don't mean you, Hank) about "compromise is farbism" aren't helping spread the word.

I remember vividly how nervous I was at my first CPH event. But good people like Mike Murley, Tiny Grimes, Steve Pannier, Amos Reynolds and other Rowdy Pards basically told me to stop fretting and just do my best. George Jurand went out of his way to engage me in period conversation Friday afternoon as the event got underway, and that put me over the threshold and into the "game." It's like a hockey goalie who'll tell you they can't get comfortable until they've made their first "save" and can "feel the puck." The PArds didn't lower their standards for me (well, some would say they did, but it was, ironically enough, Charles Heath who recruited me). They accepted someone who was on his way, but not there yet. In many ways, I'm still on my way and not "there" yet, as the "there" keeps changing as I learn more, experience more and fail more.

The same should be true of immersion events: If Bill Rodman, the ultimate mainstreamer, can do as well as he does (which is excellent) at an immersion event, then no one who WANTS to play our game should be intimidated. Bill has an equally good time at a BBB streamer fest and the hardest-core CPH immersion event, because he understands:

1.) what both events offer
2.) what both events expect from the participant
3.) that both events will scratch different "itches" and should not be confused.

Now, this to those of you reading along-- stop fretting and just sign up for an event. Do your homework as Linda recommends, don't fear Hank will bite your head off, either. At "Pickett's Mill" in 2001, some of us fell into modern talk and Hank (who was lying nearby) jumped up like his pants were on fire to escape us. It had the effect of getting him away from our faux pas, and it shocked us all into getting back into period. That's about as "mean and ornery" as Hank gets, LOL. ;)

[aeryn406]

Re: Living History as Performance Art

Thank you for that last paragraph, Mr Cross! I've been lurking here for a few weeks and was getting a little nervous about becoming interested in this hobby.

Ladies & Gentlemen, please allow me to introduce myself. My name is Aeryn and I'm just starting to do research on a civilian, USSC impression that I plan to use in the Fall.

I hope I wasn't out of line, making my introduction here, and I'm looking forward to reading and learning from everyone here!

[OldKingCrow]

Re: Living History as Performance Art

Intimidation, fear, fret and / or worry are not the motivations which keep people away from the elite level events.

Chris Rideout
Tampa, Florida.

[Bill Cross]

Re: Living History as Performance Art

Intimidation, fear, fret and / or worry are not the motivations which keep people away from the elite level events.

No offense, Chris, but you know that how?

And perhaps you can share with us your insight into just what DOES keep them away?

[Bill]

Re: Living History as Performance Art

And perhaps you can share with us your insight into just what DOES keep them away?

Bill Cross,

Maybe I can help answer that question. Over the years, I've encouraged the members of my Mainstream unit to attend CPH events. Some guys who've attended, enjoyed the events. Other guy's reaction has been "You've got to be kidding. That really sucked. I want my cot, cooler, and tent." These were guys who had no problem meeting the "standards" of the event. They just didn't enjoy sleeping on the ground and missed the beer around the campfire in the evening.

BTW,

I'm not sure I'm the ultimate Mainstreamer. Close maybe, but not the ultimate! :)

[OldKingCrow]

Re: Living History as Performance Art

No offense, Chris, but you know that how?

And perhaps you can share with us your insight into just what DOES keep them away?

Why certainly.

I know that from many, many fireside chats, PMs, beers, funnel cakes and emails from men in this hobby who take the same approach. The dregs of society commiserate.

Critical mass is a huge factor. 5-10% elite is spot on with a nominal trickle of new blood upside w/ time (though I dont think the up is filing the void left by departing veteran campaigners).

Most importantly folks, at least in my community, know and are comfortable with their place in the order of things and fear / intimidation are not restraining factors. For many the word H-O-B-B-Y always creeps in.

I still feel like a little boy seeing Mickey Mouse when I see a group like the Independent Volunteers or the Trents on original ground or performance acting in a period setting like Westville. (No really I do ask my wife...giddy like a teen aged school girl).


Edited after reading Bill Rodman's spot on post: I sleep on the ground and live for the history heavy stuff. I am a cartoonish representaion of an ACW soldier and that is the deal killer for me.

CJ Rideout
Tampa, Florida

[Bill Cross]

Re: Living History as Performance Art

I'm not sure I'm the ultimate Mainstreamer. Close maybe, but not the ultimate! :)

All kidding aside, you're proof that those who've built bridges to potential campaigners had the right notion, while those who said "NO COMPROMISES AT ALL" helped doom the CPH movement to small potatoes. You handled my company at "Bummers" with skill and good judgment, and maintained firper impeccably. Something you've done at numerous other immersion events we've attended together.

I remember the rants about "fence sitters" (campaigners who wouldn't quit their mainstream group for a CPH group). It's total bullshit. The best events have been built from groups of guys who attend BOTH kinds of events. The "fence sitters" are what we in marketing call "close switchers": people who look for the best deal, price, product, and don't have blind loyalty to any brand.

In my own case, I avoid mainstream events simply because there's no enough to do (notice how drunk I was at Ft. Branch when the RPs decided to have a reunion there). I prefer history-heavy events because I have fun the whole weekend (I'm sick, I enjoy sleeping on the ground and eating day-old meat). But I also realize that guys with friends in their mainstream group aren't going to chuck all that because someone on the Internet says "you're a freakin' fence sitter," LOL.

[Bill]

Re: Living History as Performance Art

All kidding aside, you're proof that those who've built bridges to potential campaigners had the right notion, while those who said "NO COMPROMISES AT ALL" helped doom the CPH movement to small potatoes. You handled my company at "Bummers" with skill and good judgment, and maintained firper impeccably. Something you've done at numerous other immersion events we've attended together.

Bill X,

Thanks for the kind words; but to get this tread back on track. As Hank Trent said, doing first person is indeed acting. Some people are way better actors than others. It's easy enough to avoid modern topics. It's another matter to maintain period conversation, even when talking about common things, without slipping into modern speech patterns and modern language. Even when dealing with military topics, I find myself slipping into modern slang. Heck, I often mess up modern versus period drill commands! The more tired, the more likely I am to screw up. I sort of doubt I'm the only person with thses issues. Of course, as the ultimate Mainstreamer, I may be overthinking the problem. :)

[Bill Cross]

Re: Living History as Performance Art

Some people are way better actors than others.

And some people are better at drill, but that doesn't mean they're good leading a group through the woods. It's an ongoing job to acquire all the skills to be a good living historian.

It's another matter to maintain period conversation, even when talking about common things, without slipping into modern speech patterns and modern language.

My advice to newbies is usually KISS: keep it simple, sonny.

Because these guys (for the most part) all came from the same part of the state, it would be unlikely one of them would blurt out "what do you think about the election?" They probably had talked about it and would more likely be focused on things around them, or perhaps imparting a bit of news from home. So it's noble to bone up on the political details of the period and the state of the unit you're portraying, but it might be better to learn a period song, work on your whittling, or ask a pard if he's heard from back home?

The more tired, the more likely I am to screw up. I sort of doubt I'm the only person with thses issues. Of course, as the ultimate Mainstreamer, I may be overthinking the problem. :)

I still get nervous the first night of an immersion event, but actually the tireder I get, the more natural things take over-- I want to lie down and sleep (a period endeavor), and I talk less when I'm tired, so am less likely to make a mistake.

You, OTOH, seem to maintain the same ability to talk the leg off a table no matter how tired you get, LOL! ;)

[LindaTrent]

Re: Living History as Performance Art

I think intimidation, fear and worry are indeed things that keep people from attempting the more history heavy events, and more particularly the immersion style events.

Having been an organizer of several events I've heard a number of excuses. I think a lot of people look at the hobby as a "social club" where they gather every so many weeks with their friends and catch up with the latest modern gossip and reenact, of course. The idea of possibly attending an immersion event without all of their friends is scary, especially if the individuals aren't real outgoing. The problem with civilian events is that oftentimes the numbers are small and there are only 10 or less slots available. They find it intimidating that their friends can't accompany them.

There's also a sense of fear amongst many of the people I've talked to. The fear of having to leave behind the modern world (cameras, cell phones, coolers). There's the big "what if?" factor. What if someone needs to get a hold of me? It seems like people forget that there was a world not that long ago when we didn't have cell phones. :) And, what's going to happen to them during the event? Will they get captured, will they get their things rummaged through...

Then there's the worry (already mentioned in this thread). The worry that they will say or do something and mess up someone's magic moment. As I said, that shouldn't weigh into anything since if someone's really trying their best we just let it go and move on.

Then there is one other possible reason. I've attended mainstream events as a spectator over the last few years and then I come home and read the AARs afterwards. Those that are written in the first person make the event sound wonderful, and I think to myself, "Wow! I wish I'd attended that event!" then it occurs to me that I did. Do some people think that our events are the same as theirs only without the coolers, cots, and cameras?

Anyway, those are some of my thoughts as to why people don't attend these type of events.

Linda.