cleaning up day (video material, notes,blog creation, selecting whats relevant and gathering info)
decisions we made:
rather than on the waiting room, we will use these two weeks here in Potsdam to focus on the performance room. the way the audience enters and the interaction inside. this we decided because of the time limits and the technical limits we have here. and because it is the core of the idea so it shoudl be the situation from which we build. why and how are they entering, and how are they inside, and how are we inside, with them and with each other.
we have a lot of material already, going back to the footage even more so. it can serve the format, especially the material coming from the states and status play is intimate, vulnerable, voyeristic. it is relevant. that seems reason enough to keep it in the piece for now.
things to do as a result:
find tasks, frames, context for this material from the research we do and the references we have talked about.
experiment with scores, rules for the audience and for ourselves to set up these scenes, the before during after.
Tuesday 24 July 2007
Notes from July 07 GDA
Dears
I think it is a good idea to share with you what I have selected from the notes I have taken at gda as main elements we should focus on.
Central idea for the piece:
Watching and being watched
From this the related themes of:
· Intimacy- at which level it can still exist if you have been watched and also the people substitution of their on intimacy with someone else s intimacy on a TV screen.
· Performance and it s limits
· When does the audience stop watching and decide to enter and take part? and why?
· The decision of the audience to enter the room and interact generates encounters.
· The negotiation between us as collaborators and a parallel negotiation with the audience.
The format
Two rooms: A performing room and A waiting room which I personally wouldn’t call waiting room anymore.
From this main aspect of the form the related thoughts of:
· Having a TV screen in the W. Room
· The W. Room is a more collective space, they can share a collective experience
· On the screen images of what is really happening in the P. Room but also fake ones.
· The P. Room is connected to the W. Room with life link.
· The P. Room is not a place for collective experience but it s a space for individual experience
· The P. Room is a place for interaction and intimacy.
· The audience can activate, through gaze, touch or action, what actually happens in the performance.
· In the P. Room there is a sort of transparency of the rules we use to interact.
I think is important to keep Martin s question in mind:
Are we mimicking a sinister surveillance culture or are we offering an antidote to it?
I personally think we are doing both.
In my notes I also found other question I think we should try to answer at different stages of this process:
What is this world?
What is it set up for?
Is it a world that has been invaded?
Is it a sensory fix world?
Ok. That’s all. I have tried to select as much as I could because we are full of notes and videos and it s very difficult to move inside this huge sea of information.
Love
Dona
I think it is a good idea to share with you what I have selected from the notes I have taken at gda as main elements we should focus on.
Central idea for the piece:
Watching and being watched
From this the related themes of:
· Intimacy- at which level it can still exist if you have been watched and also the people substitution of their on intimacy with someone else s intimacy on a TV screen.
· Performance and it s limits
· When does the audience stop watching and decide to enter and take part? and why?
· The decision of the audience to enter the room and interact generates encounters.
· The negotiation between us as collaborators and a parallel negotiation with the audience.
The format
Two rooms: A performing room and A waiting room which I personally wouldn’t call waiting room anymore.
From this main aspect of the form the related thoughts of:
· Having a TV screen in the W. Room
· The W. Room is a more collective space, they can share a collective experience
· On the screen images of what is really happening in the P. Room but also fake ones.
· The P. Room is connected to the W. Room with life link.
· The P. Room is not a place for collective experience but it s a space for individual experience
· The P. Room is a place for interaction and intimacy.
· The audience can activate, through gaze, touch or action, what actually happens in the performance.
· In the P. Room there is a sort of transparency of the rules we use to interact.
I think is important to keep Martin s question in mind:
Are we mimicking a sinister surveillance culture or are we offering an antidote to it?
I personally think we are doing both.
In my notes I also found other question I think we should try to answer at different stages of this process:
What is this world?
What is it set up for?
Is it a world that has been invaded?
Is it a sensory fix world?
Ok. That’s all. I have tried to select as much as I could because we are full of notes and videos and it s very difficult to move inside this huge sea of information.
Love
Dona
Day One July Potsdam
Day one Potsdam july 2007
We have worked on editing, selecting, distilling from the huge amount of notes and video we had. Now everything is much much clearer, I think. We have made a list of scenes to rework on and change in relation to the new stronger concept of the piece. Even though we have to also think of making clear choices about what happens in this W. Room and how it happens, we have decided to concentrate on how to develop the moments we have selected and how to connect those moments with the coming in of the audience.
We want to find different ways to get the audience involved in what it s actually happening in the scene, and ways of making them activate the actions in the scenes.
So, I think tomorrow we will start with this proposition, if you have any idea please tell us.
The list of small moments/scene we have selected is this
{taking away the trios for now}
G and D on chair manipulation
G under chair
G naked
G dream
D sunset
D happiest woman
D blind folded
D dragging table plus table dance
D floor dance
Cat state plus Cat phrase
Duet
D pushed on the floor
Whispering
We have worked on editing, selecting, distilling from the huge amount of notes and video we had. Now everything is much much clearer, I think. We have made a list of scenes to rework on and change in relation to the new stronger concept of the piece. Even though we have to also think of making clear choices about what happens in this W. Room and how it happens, we have decided to concentrate on how to develop the moments we have selected and how to connect those moments with the coming in of the audience.
We want to find different ways to get the audience involved in what it s actually happening in the scene, and ways of making them activate the actions in the scenes.
So, I think tomorrow we will start with this proposition, if you have any idea please tell us.
The list of small moments/scene we have selected is this
{taking away the trios for now}
G and D on chair manipulation
G under chair
G naked
G dream
D sunset
D happiest woman
D blind folded
D dragging table plus table dance
D floor dance
Cat state plus Cat phrase
Duet
D pushed on the floor
Whispering
Subscribe to:
Posts (Atom)