User:Phil Adroit

ADROITISM & BRUTAL POETRY

Adroitism was an underground comedy artform collaboration with its roots firmly embedded in Absurdist experimental cabaret performance.It also incorporated a national comedy comic full of  cartoons, text and artwork. Based in the North East of England between 1989 to 1997 and a brain-child of the already established poet and comedian Phil Adroit (Philip. J. Lipkowitz). Phil continued solo performances, projects, research and installations up till 2001. Most notably, an "open graphic novel" text and image on canvas, shown at the Barbican Arts Centre in London as part of a display by the world renowned Dartington College of Arts in the late 90's.

At its height Adroitism employed over 200 regular and freelance artistes and collaborators of many creative styles, talents and skills including: comedians, writers, dancers, movement artists, drag artists, comedy actors, technicians, cartoonists, visual arts practitioners to name but a few. Phil Adroit often acted as an unofficial Agent for his artistes, helping them move onwards and upwards within this precarious industry.

The aim of Adroitism was to offer a platform for the more obscure, eccentric, experimental and educational arts practitioner, whether they be established professionals or exciting, off-the-wall amateurs. The aim was to experiment by mixing often opposing styles together in professional performances. Phil encouraged improvisation amongst his performers and the audience.

Although the Adroit Comedy Cabaret toured extensively, its followers were of the "cult" type. It existed strictly in the margins of the Arts and Culture Industry, prefering the shadows than the limelight. Saying that, Phil and other members of ADROIT have appeared on television, film and radio many times, usually under their absurd alter-ego's.

BRUTAL POETRY: A non-compromising, verbal choreography, socio-political performance format created and designed by Philip.J. Lipkowitz ( Phil Adroit ) in 1979 to entertain non-traditional poetry audiences. Phil specialised in following professional entertainers in the old Working Mens Clubs, sometimes to hostile crowds who regarded poetry as a class divisive tool to suppress the poor and working-class. It proved a valuable baptism of fire for the young Phil and became a hit for its comedic straight-to-the-point delivery and punch-lines.

Phil incorporated movement, sound, image and installation into some of his performances, but prefered the often satirical subject matter and its vitriolic delivery to stand on its own, sometimes provoking heated debates from members of the audience or management of the venue. Phil would use this platform to express notions of equality amongst the sexes, disabled and races (something which hadn't been established in British society or culture at the time ).

There are a few anthologies where Phils work has featured with other modern poets; however, he does not write for the page, unless that page is a living body, dead animal or unconventional environment.

The mainstream poetry establishment regarded Phil and his product more akin to stand-up comedy and refused to recognise him as a poet. Rather than deter him, Phil found a ready made audience amongst the working-class and underclass. It can be argued that Phil's BRUTAL POETRY style, vocal and physical choreography offers the audience a true feeling of performance in its traditional context.