a performance dialogue

Sunday, December 2, 2007

19th step performance sketch 2

Been thinking about your responses, have tried to simplify and create a more fluid performance space. Just been looking out some photos for Dorothy and came across the images at the Laban in the room with mirror. Thinking about it as I write this I realise the corner would need one plane side and one mirror side. Was thinking about the idea of infinity and how the mirror does this. Also about Carols idea of Marcus describing the Maths of the space is intriguing. I was imagining the 6 corners were like nodes of the space described by the music and dance. But the nodes could also be moved so different surfaces come in the projection light they would also come in and out of focus. The shape of the space could be assembled and altered during the piece. I keep thinking of ways to work with the projected image on to the screen, a screen is a definite screen and the corner screens are really physical things that can be moved around the performance area, they become screens if they enter the light of the projected image. I think I'm trying to make the experience of viewing the projected image to have a physical presecence, although we are dealing with lots of virtual/abstract things like the projected images, maths and music.
Wondering if this may be why I'm still a bit reluctant to use hanging screens as they often seem like a facade where you have to suspend your disbelief, a I think find this a bit difficult to deal with, but I realise the performance space is very different :-)

1 comment:

Dorothy said...

The corners and mirrors images are some of my favourites from the gps rehearsals and if we could do it in performance that would be cool. I would really like to see how this works with these narrower, 'finite' surfaces(compared to those at Laban).

I like the way it also reminds me of the translucent hexagons you made in second life.

Moveable sets have to be really well managed in terms of how and when you move them, etc. I saw Pelleas and Melisande at the ROH last year: the set consisted of huge opening cupboards on wheels that got pushed around by about six people in the gloom between scenes. This in itself took on a kind of simplistic geometry, though that was partly because the imagery inside the cupboards was simplistic.

I also think of the Siobhaun Davies Quartet we saw in QEH where the three screens were a rather 'mean' kind of set.

It would be good to think about different configurations for the six 'corners', how image and body could interact with them (in front, behind, etc. and the ways they can be moved. Also how each of the different kinds of materials would work.

I think with using screens we need to consider lighting. Lighting can be used to make screens disappear/appear, etc.

One other thought: the first design was exciting for the way it gave a sense of the potential action and paths inside it. Maybe that's not necessarily helpful for dance? This one for me almost has the opposite effect, there's something very placid and composed about it; the action might consist of a series of scenes with the set in different configurations but I can't imagine action within those scenes (though I am used of course to mainly working with musicians who are sat in one place.

Anyway, again these are just my initial thoughts.

And again, Kate, I think this is ingenious in its own way, and I love what it is.