An independent artist scholar whose art research spans image-making, site specific theatre, investigative journalism, writing, and other disciplines. Most recently my work focuses on toxic landscapes and using site responsive theatre practices to reveal the history of a particular environment while exploring the means to imagine alternative futures. This Artist Scholar Propaganda page contains an Artist Statement; Jamie Lyons C.V.; Jamie Lyons Bio; a Theatre Photography Bibliography; and a Site Specific Bibliography.
Note Bene: The photographs displayed on this website are a mix of digital (full frame or iPhone) and film: 6×6 negative (1952 Rolliflex, Holga) and 4×5 (1958 Speed Graphic Pacemaker) for archival purposes.
Theatre holds an ancient resonance originating from its birth in caves. From the moment theatre was born, religion was born. This is not a nostalgic statement, nor is it some attempt at an archaeological attitude. In no way is theatre a structure that belongs to the past. I view it as a force, a practice of ritual, an ancient spirit that can be located at the core of all Live Art. Theatre’s aesthetic meaning remains contemporary. Mine is an artistic and scholarly enterprise that questions itself; repurposes itself with each occasion; offered in real time with no barriers; and founded on an act of presence.
What is site responsive theatre? Put simply, artists producing work in collaboration with a unique environment. Fundamental to my approach is a concern for working in the present while simultaneously collaborating with the remains of the past: the accumulated histories a site contains and the ethereal elements that remain ever present. My artistic practice centers itself with these connections and relationships. Uniting past, present and future and fusing artists, structures, with the remnants left by ghosts.
Regarding photographic images: on their own they are complicated and fascinating. Synthesized with thought and taken individually they contain stories and provide epiphanies. As a collection they convey a performance or work of Live Art into the future. Chronicling material change and temporal impermanence. Marking the order and entropy.
This system of making, consuming and discarding translates and transforms the experience of witnessing into something sober and sacred: a document. A text that exists as an inventory, narrative, or for some a memory while for others an explanation.
For both theatre-making and photography, there is nothing to invent. Rather, there are things to edit and things to focus on. The citing inherent in the work is infinite. The invention is finite.
Giotto solved the problem of bodies in space
.
Carvaggio … chiaroscuro
Rembrandt … light
Piranesi … inside/outside
Van Gogh … color
Warhol … the reproducibility of the image
The spectator is the key and the foundation of both practices. They are a presence impossible to disregard, a pantheon of Gods able to create and give life. Without a witness, without that experience, without that memory, without that emotion, without the life of the spectator… all we have are bodies, geometries, sound and light, with no meaning and little purpose.
These phenomena are part of a nourishment that belongs to everyone.
I. EDUCATION:
Ph.D., Stanford University, Drama and Humanities, 2007
Dissertation: The Image of Tragedy
A.B., Stanford University, 1997
II. SCREENWRITING PROJECTS
2019: Revival
2015: The Land of Tears
2012: The Bikini Atoll War
2011: Danger is My Destiny
2010: Al Khatun
2009: Tragedy of Hoffman
2008: Compadre
The Lost Patrol
2007: The Traveling Beekers
III. THEATRE DIRECTING/PERFORMANCE/ART RESEARCH PROJECTS
……………………………….2020
Sophocles, Laocoön, Berkeley Art Museum and Pacific Film Archive
The Man Who Knows (Euripides #115), Santa Cruz
……………………………….2019
Aeschylus’ Mysians, Kauai
……………………………….2018
Aeschylus Danaids at The Pulgas Water Temple
Paths of Steady Success (Euripides #259), East Palo Alto
……………………………….2017
Sophocles’ Oedipus The King, trans. Anthony Burgess
(staged reading) in Fort Mason Chapel
for San Francisco International Arts Festival
Savage Blasts (Sophocles #116) at Wave Organ
……………………………….2016
Sophocles, Nausicaä at Pillar Point
Love is The Fullest Education (Euripides #91) on Slacker Hill
……………………………….2015
Speechless Fish (Sophocles #110) at San Gregorio
Cloud Talk (Sophocles #137) Ryan’s Bathtub
Aeschylus, The Argo at San Francisco Maritime
No Man’s Friend (Euripides #266), Aquatic Park
Aeschylus’ Glaucus of Potniae at Golden Gate Fields
Sophocles’ Sinon at Emeryville Mudflats
Aeschylus’ Daughters of Helios at Año Nuevo State Park
The Balcony by Jean Genet, Old Mint, San Francisco, Collected Works
……………………………….2014
King Fool, We Players
……………………………….2013
On The Harmful Effects of Tobacco by Anton Chekov, Franconia Performance Salon
……………………………….2004
The Blue Room by David Hare, Stanford University
……………………………….2003
Stray Cats by Warren Leight, Stanford University
Night of the Burning Pestle, Stanford University
……………………………….2002
True West by Sam Shepard, Stanford University
……………………………….2001
Marat/Sade by Peter Weiss, Stanford University
……………………………….2000
The Revenger’s Tragedy by Cyril Tournour, Stanford University
Footfalls by Samuel Beckett, Stanford Repertory Theater
What Where by Samuel Beckett, Stanford University
Come and Go by Samuel Beckett, Stanford Univiersity
……………………………….1999
Mountain Language by Harold Pinter, Stanford University
Cowboy Mouth by Sam Shepard, Stanford University.
……………………………….1998
Aya no Tsuzumi, a Noh play, The Pulgas Water Temple, San Francisco Water Department
……………………………….1997
Rat by Sarah Warren, P.S. 122, New York City
Drain, a radio play by J.C. Lyons, KPFA Public Radio
Homeplus, by J.C. Lyons, Upstairs Garage, New York City
IV. OTHER PROFESSIONAL EXPERIENCE
2019-: Lecturer, Film & Digital Media, University of California Santa Cruz
………..Guest Lecturer, Movement for Actors/Acting for Dancers,
………..Theater and Performance Studies, Stanford University
2017-: Co-Instructor, d.school, Stanford University: “The Intersection of Performance, Architecutre & Design”
2017-: Alonzo King LINES Ballet, San Francisco:
Responsible for planning and implementing marketing strategies that attract new audiences and students, deepen the organization’s connection with its community, and strengthen its global brand and international position.
2017-2019: Trustee, Museum of Perfromance + Design, San Francisco
2016-2020: Communications Lead, Environmental Data Governance Initiative:
a research-based organization founded n 2016 to respond to the Trump administration’s impact on federal environmental policy and data.
2015-: Artist Weather Television
2012-2017: Instructor, Prison University Project, San Quentin
2012-2016 Co-Founding Artistic Director, Collected Works
2009: Founder, False Art
2006-2012: Creative Producer / Director, Google/Picture Lab
Created, developed, and managed video and digital media content that supported, explained, and told the stories that helped define a diverse array of platforms.
2005-2006: Teaching Fellow, Introduction to the Humanities, Stanford University
2004-2005: Lecturer, Theatre History I & II, Stanford University
2003-2007: Stanford Summer Production Laboratory:
Initiated and organized a summer theater lab, bringing together graduate and undergraduate students for 10 weeks to create 4 graduate-directed works, emphasizing the work of actor and director. Held weekly colloquia examining issues of theory, methodology, and the work of the artist/scholar. Supported with grants from Stanford Drama and the Institute for Diversity in the Arts.
2003-2004: Administrator, Performance Studies international
2003: Stanford Artist Scholar Conference:
Initiated and organized a graduate conference on the artist scholar. The aim of this conference of was to consider the place of theater practice within the research university at the PhD level and beyond, to develop practical strategies for the continued growth and evolution of theater and performance studies programs integrating scholarship and practice, and to foster interdisciplinary collaboration between theater studies and art research in other fields both within and beyond arts and humanities
2002-2004: Instructor, Honors College, Stanford University
2000-2004: Co-Founder Stanford Theater Laboratory:
The Theater Lab’s mission was to promote the interrelationship of artistic practice and academic scholarship and to advocate for the place of practical theatrical research within an academic research university. These artist-scholar activities included performance workshops with international practitioners both overseas and at Stanford; team-taught experimental theater workshops; graduate-directed summer theater laboratory; and a graduate-led conference. This idea of Art Research evolved into the Franconia Performance Salon.
2000-2005: Instructor: Introduction to Acting; Sex Rites and Earth Rituals; Shakespeare from Stage to Screen; Samuel Beckett’s Late Plays and Prose; Directing and Technology and Art. Drama Department, Stanford University
2000-2001: Administrator, Stanford Summer Theater (now Stanford Repertory Theater)
1997-2003: Production Manager/Producer, Mabou Mines Productions
I worked first as Technical Director, then Production Manager and later as Producer as we worked Off Broadway and toured nationally and internationally with the company’s productions of Gospel at Colonus, Peter and Wendy, Hajj, Prelude to a Death in Venice, and video installations of their earlier work of developing Lear.
1993: Production Assistant, Anna Deavere Smith’s Twilight: Los Angeles, 1992 for the Mark Taper Forum, Los Angeles
V. PUBLICATIONS
(images) Hill, Leslie & Paris, Helen. Devising Theatre & Performance: Curious Methods, London: Intellect and Unbound, 2021
(text and images) “the SHIPYARD and the BOMB”, The T-Line News, Summer 2020
(cover/images) Ecumenica: Performance and Religion (Issue 13.1), Spring 2020
(cover image) We Players’ Macbeth at Fort Point, Theatre History Studies, The University of Alabama Press, 2019, Volume 38.
(images) “Alonzo King LINES Ballet Artistic Director Alonzo King”, The Wonderful World of Dance, Act IV, Spring 2019
(images) Eero Laine and Maaike Bleeker, “Performance Studies international”, Critical Stages/Scènes critiques, The IATC journal/Revue de l’AICT – June/Juin 2019: Issue No 19
(images) Anna Halprin’s Sensory Walk, Repères, cahier de danse #41, Fall 2018
(images) “Carl Weber 1925-2016”, Kathryn Mederos Syssoyeva, TDR/The Drama Review Fall 2018, Vol. 62, No. 3 (T239), pps 51-54
(photographer) Inquiry Magazine, UCSC Office of Research, University of California Santa Cruz Press, 2018
(images) “Fantasy on the Clock: The Virtual Cruelty of Collected Works’ The Balcony” by Rebecca Chaleff, TDR/The Drama Review, Summer 2016, Vol. 60, No. 2 , Pages 139-145
On Time, Performance Research, Volume 19, Issue 3, (Routledge, 2014)
Image of Tragedy (dissertation), (Stanford University, 2007)
“Rethinking the Cambridge Anthropologists.” Journal of Dramatic Theory and Criticism, Winter, 2004
“Lee Breuer’s Hajj as Postmortem Theater.” Journal of Dramatic Theory and Criticism, Winter, 2000
“Image of Scene: Oedipus Tyrannus, Ajax, and Philoctetes”. Comparative Drama, Spring 1998
*(photos) “Bill Ham: The Psychedelic Light Show,” Bomb Magazine, February, 1997
*(with Charles R. Lyons) “The Performance Work of Anna Deavere Smith and Contemporary Critical Theory,” Journal of Dramatic Theory and Criticism, Fall, 1994
VI. PUBLICATIONS FOR PHOTOGRAPHY
VII. OTHER PERFORMANCES & EXHIBITIONS
2022
Guest Lecturer: Visual and Site Specific Design for Aleta Hayes’ Fashion Fable Cantor Arts Center, Stanford University. Commissioned performance to celebrate the museum’s Gordon Parks exhibit A Loaded Camera.
Guest, What to Be?, KSQD, December 18, 2022
2021
Solo Exhibit, Reunion Island, Téat, Ile de la Réunion, France.
Projection Design, Pole Star, Alonzo King LINES Ballet and Vân-Ánh Vanessa Võ, Téat, Ile de la Réunion, France.
Guest Lecturer: Director of Photography/Design for Riot of Spring, Stanford Under the Stars: Movie Nights at Frost for Stanford Live. Inspired by realized and imagined rites of spring, this intermedia project interpolates “liveness”, seeks communion and finds love. Rehearsed and filmed partially over Zoom and in landmark locations on the Stanford campus.
“Presenting Liveness in the Tech Space.” Presentation and roundtable discussion. Ethics, Society, & Tech Unconference, Stanford University.
2020
Guest Lecturer: Director of Photography/Video Design for Dance 30: “Traveling in Place“, Stanford Theater and Performance Studies. An online live dance performance project.
2019
Projection Design, Pole Star, Alonzo King LINES Ballet and Vân-Ánh Vanessa Võ, Yerba Buena Center for the Arts, San Francisco
Panelist, Beyond Academia Conference. Beyond Academia, UC Berkeley
Site Specific Design, Chocolate Heads: The Chocolate Ball for Polymaths, Stanford University. A performance as part of the “Leonardo’s Library” Exhibit Reception, a celebration of Leonardo Da Vinci’s 500th Birthday.
Enduring Democracy: The Monterey Petition, Documentary Film, 2019, Actor: Robinson Jeffers, David Schendel, director
Video Design, Chocolate Heads: Night Landing, Aleta Hayes Choreographer Stanford University
Group Exhibit, Through-LINES: The Art of Ballet, Gallery 836M, San Francisco
2016
Site Specific Design, Chocolate Heads’ Ghost Architecture: Palimpsest, Stanford University
Visual Artist, Yula Paluy’s Nothing is Sacred? Museum of Performance + Design, San Francisco
Chocolate Heads, Spring Charrette, Stanford University
Chocolate Heads, Flower at Windhover, Stanford University
2015
MAPP (Mission Arts Performance Project): Breaking Open The Prison Industrial Complex at Adobe Books, San Francisco, curated by Nathalie Brilliant
Building Scene: space launch and performance installation. Architecture through Dance, Voice & Fashion in Commemoration of the Opening of the McMurtry Art and Art History Building, Stanford University
Video and Photos of The Iota (fragments of Aeschylus, Sophocles & Euripides) for FPS #14, at Museum of Performance + Design
Video and Photos of Collected Works production of The Balcony at The Old Mint for Sublimated Mask, at Museum of Performance + Design
Video Projection, Prototyping Festival, Market Street
2014
Performer, Inhabitant, Ntsoana Contemporary Dance Theatre, San Francisco Museum of Modern Art, Yerba Buena Center for the Arts, and Galería de la Raza as part of Public Intimacy: Art and Other Ordinary Acts in South Africa and Live Projects 4
Dante’s Inferno, Cantos 1-7 (film), Franconia Performance Salon #12
2013
DJ/Dancer/Producer in Jerome Bel’s The Show Must Go On, Stanford Live
Video Projection & Lights for Building Score 101b, Performance Art Institute
Producer, Video Projection & Lights for Collected Works production of Gombrowicz’s Princess Ivona
VIII. AWARDS, GRANTS & FELLOWSHIPS
2005: Centennial Teaching Assistant Awards
1999-2006: Stanford University Fellowship
1994: Barbara Thompson Memorial Scholarship.
1994: Robert M. Golden Grant for Humanities and Creative Arts
1994: Appointed to Honors College, Stanford University
1993: James Irvine Foundation Grant
1993: Elston M. Harrison Memorial Scholarship
VIII. ORGANIZATIONS & AFFILIATIONS
National Press Photographers Association (NPPA), Modern Language Association (MLA), Reporters Without Borders, American Society for Theatre Research (ASTR), Performance Studies international (PSi), Association for Theatre in Higher Education (ATHE), Environmental Data Governance Initiative (EDGI).
(a) the reverese for you: show up clean/leave dirty
(a): Ghosts exist, give them one day/night a week alone in the space
(a) music stands are amateurish
(a) Sharka is an exception to this rule
Especially if they love you
(a) Susan Sontag was a genius
(a) A performance should have a style
your job is to figure out what that is and execute it
(a) maybe it can
if you just ignore one of your stupid rules
What is your artistic approach?
my core ideology maintains deep respect for the source material
and the individuals engaged with that material
a dedication to affordable quality
and consistency with the each performance
a commitment to community and environmental responsibility
a view that my artistic practice
contributes to the advancement and welfare of humanity
at the core of my practice are the following ideals…
a trust and respect for individuals
a focus on a high level of achievement and contribution
work with uncompromising integrity
achieve common objectives through teamwork
encourage flexibility and innovation
How do I find out about plans and future productions?
there’s a little scroll above… on the right
I also announce performances through social media
What does “Site Specific” mean?
New York City’s Guggenheim Museum’s offers this definition:
“Site-specific or Environmental art refers to an artist’s intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, whether indoors or out, urban, desert, marine, or otherwise.”
that’s a good general description
Why do you describe the work as “Site Responsive”?
a sites environment and history informs my productions
artists construct each individual piece for a specific site
as such the productions are non transferable
the performance materials for each production
are constructed by the artists using existing resources within the site
for example
my production of Sophocles’ Sinon
constructed the Trojan Horse from material native to the site
How are you documenting your work?
in documenting my work I do not use Photoshop or “filters”…
I follow The National Press Photographers Association Code of Ethics
Some clauses from this code:
Be accurate and comprehensive in the representation of subjects.
Resist being manipulated by staged photo opportunities.
Be complete and provide context when photographing or recording subjects.
Avoid stereotyping individuals and groups.
Recognize and work to avoid presenting one’s own biases in the work.
Treat all subjects with respect and dignity.
While photographing subjects, do not intentionally contribute to, alter, or seek to alter or influence events.
Editing should maintain the integrity of the photographic images’ content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
Respect the integrity of the photographic moment.
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.
i don’t have one
all i have are rules
but why not try one of these?
“Notes to myself on beginning a painting” by Richard Diebenkorn
How to work better Fischli & Weiss
The Stuckists Manifesto
The Dada Manifesto by Hugo Ball
The Dada Manifesto by Tristan Tzara
The Orgasm Manifesto
The Manifesto of Negativity
Permanent Manifesto Art and Communication
John Cage’s 10 Rules
Ten Commandments for Gilbert & George
Manifesto of the Empress Catherine II