Tuesday, 23 October 2007
Thursday, 18 October 2007
score for performer
material to be used:
a. copy audience member
b. floor sequence (keeping same proximity to marked chair, whatever happens)
c. motion sensor scan
d. movement phrase (radio)
e. hand scan and dodge
options:
relating to sound produced
movement produced by interaction to initiate set material and vice versa
relate to marks on the floor, by using them as pathways, or reconstructing audience positions
a. copy audience member
b. floor sequence (keeping same proximity to marked chair, whatever happens)
c. motion sensor scan
d. movement phrase (radio)
e. hand scan and dodge
options:
relating to sound produced
movement produced by interaction to initiate set material and vice versa
relate to marks on the floor, by using them as pathways, or reconstructing audience positions
score for audience (2 or 1)
A. Thank you for coming. Please invade my dance.
Either of us can call “END” to this dance. Please exit at the end.
B. I have been waiting for you. Please guide me to one of the chairs.
Be in charge of the sound of this dance - you can use the stereo, the furniture, yourself…
Please leave with the other person. Thank you.
A. Thank you for coming.
I have been waiting for you. I need you to help me dance.
Either of us can call “END” to this dance. Please exit at the end.
B. I have been waiting for you. Please guide me to one of the chairs.
Be in charge of the sound of this dance - you can use the radio, the tape or CD.
Please leave with the other person. Thank you.
Both, as the next audience member walks in:
Please take the tape and mark on the floor what you remember of your pathway in the room.
Then leave. Thank you.
Either of us can call “END” to this dance. Please exit at the end.
B. I have been waiting for you. Please guide me to one of the chairs.
Be in charge of the sound of this dance - you can use the stereo, the furniture, yourself…
Please leave with the other person. Thank you.
A. Thank you for coming.
I have been waiting for you. I need you to help me dance.
Either of us can call “END” to this dance. Please exit at the end.
B. I have been waiting for you. Please guide me to one of the chairs.
Be in charge of the sound of this dance - you can use the radio, the tape or CD.
Please leave with the other person. Thank you.
Both, as the next audience member walks in:
Please take the tape and mark on the floor what you remember of your pathway in the room.
Then leave. Thank you.
Monday, 15 October 2007
day 3
i kept working on my little phrase today. its about 12 minutes long now. i will start writing a text for instructions tonight i think. looking at just one chair in charge of the orientation of the phrase, so that the audience member can still choose from which direction they want to watch. it would be nice to have a small radio with tape player for the audience so they can tune a soundtrack if they want, and also respond to my soundcue of "magical mystery show". if they want. if they dont it works in silence too i think. i wonder how much information on person can take before they go in. also i need to find out if any of these things work tomorrow by asking someone in. at last.
i am going out into the sunny autumn potsdam now to meet my sister and her kids. its so incredibly beautiful this october. makes up for all the stupid rainy summer.
i am going out into the sunny autumn potsdam now to meet my sister and her kids. its so incredibly beautiful this october. makes up for all the stupid rainy summer.
Sunday, 14 October 2007
Hello?
anyone there?
friday was awful, I thought I'm going insane. Now i have a video camera and i can watch myself go insane. helps a bit. i had some more thoughts on elements that could build the phrase in its repetition. so that its still a loop but different events can happen maybe just in one or two of the loops. i found a piece of music by the beatles that works well (in rhythm) with a little demonstration I do in the phrase, on the theme of long wave, short wave, ultra-short wave (UKW--i dont know the english word for it). its called "the magical mystery show".
somehow i like the title very much too.
i also met a puppeteer to give me some tips on how to use my arm convincingly as a radio antenna/sensory roboter. he told me to dress it up with a long stripey sock and put a rubber band around my shoulder joint, to practise sensing it as an external body part. will try this tomorrow. greetings to london.
friday was awful, I thought I'm going insane. Now i have a video camera and i can watch myself go insane. helps a bit. i had some more thoughts on elements that could build the phrase in its repetition. so that its still a loop but different events can happen maybe just in one or two of the loops. i found a piece of music by the beatles that works well (in rhythm) with a little demonstration I do in the phrase, on the theme of long wave, short wave, ultra-short wave (UKW--i dont know the english word for it). its called "the magical mystery show".
somehow i like the title very much too.
i also met a puppeteer to give me some tips on how to use my arm convincingly as a radio antenna/sensory roboter. he told me to dress it up with a long stripey sock and put a rubber band around my shoulder joint, to practise sensing it as an external body part. will try this tomorrow. greetings to london.
Thursday, 11 October 2007
day one
A few things are going through my head at the end of this day.
Can we as artists define the kind of audience we want?If we attempt to guide our audience into becoming the kind of audience we wish for, is that selfish, forced and patronizing?
Is it idealism to wish for an audience, to wish for people to think about what they are interested in. whether they can change the course of action or not...in every moment of watching and every moment of doing? If this is the main aim of the piece and the content is more or less replaceable, are they then doing us a service that they should be paid for as performers? Is this achieveable, is this interesting. well i am interested in it now, so i guess thats what i will do..?
plan of action
somehow each audience member should be able to leave something of their own in the action, somehow have the chance to alter its pathway, and be part of a recognizeable building process that develops throughout the piece. we spoke about this a bit in july and it is something i would like investigate into this and next week.
I would like to experiment with this thought on three levels -
1. directly visible
shifting chairs to change orientation and maybe other things in the phrase, asking the spectator to tape their pathway in the room onto the floor when they are finished
2. indirectly visible, altering the material of the dancer
I would like to experiment with picking up movement patterns, habits, gestures of each spectator and build them into the phrase
3. indirectly visible, altering the material for the spectator
I would like to experiment with asking each audience member to pass one question and one answer they had in this room to the next person walking in. I like that this is something that builds and can become quite central to the action but stays hidden to the performer.
I would try to take one of these things at a time next week, once I have a phrase that i am confident with to take back into improvisation.
what do you think?
Diary day one
I made a long phrase today. more like a skeleton of a phrase to be developed tomorrow. i took the idea of receiving, transmitting and search for radio waves as a starting point. somehow a lot of the work on movement states we did last December reappeared. i guess it is still in my body somehow, so I let these patterns come back and build them into the phrase.
At the moment this phrase is a loop, moving between two chairs (start and finish in the same chair). It has no orientation so far. I would be interested to see what happens to the material if it is dependent on the orientation of the chairs, and I ask the spectator to shift them around as they please.
Can we as artists define the kind of audience we want?If we attempt to guide our audience into becoming the kind of audience we wish for, is that selfish, forced and patronizing?
Is it idealism to wish for an audience, to wish for people to think about what they are interested in. whether they can change the course of action or not...in every moment of watching and every moment of doing? If this is the main aim of the piece and the content is more or less replaceable, are they then doing us a service that they should be paid for as performers? Is this achieveable, is this interesting. well i am interested in it now, so i guess thats what i will do..?
plan of action
somehow each audience member should be able to leave something of their own in the action, somehow have the chance to alter its pathway, and be part of a recognizeable building process that develops throughout the piece. we spoke about this a bit in july and it is something i would like investigate into this and next week.
I would like to experiment with this thought on three levels -
1. directly visible
shifting chairs to change orientation and maybe other things in the phrase, asking the spectator to tape their pathway in the room onto the floor when they are finished
2. indirectly visible, altering the material of the dancer
I would like to experiment with picking up movement patterns, habits, gestures of each spectator and build them into the phrase
3. indirectly visible, altering the material for the spectator
I would like to experiment with asking each audience member to pass one question and one answer they had in this room to the next person walking in. I like that this is something that builds and can become quite central to the action but stays hidden to the performer.
I would try to take one of these things at a time next week, once I have a phrase that i am confident with to take back into improvisation.
what do you think?
Diary day one
I made a long phrase today. more like a skeleton of a phrase to be developed tomorrow. i took the idea of receiving, transmitting and search for radio waves as a starting point. somehow a lot of the work on movement states we did last December reappeared. i guess it is still in my body somehow, so I let these patterns come back and build them into the phrase.
At the moment this phrase is a loop, moving between two chairs (start and finish in the same chair). It has no orientation so far. I would be interested to see what happens to the material if it is dependent on the orientation of the chairs, and I ask the spectator to shift them around as they please.
Radio Waves
Propagation is a term that describes the travel of electromagnetic waves, there being three principle main modes of propagation. The first is a straight line travel: the manner that radio waves travel through deep space (ignoring the slight deviations caused by gravity under the theory of relativity). A second way is a skip, which is bouncing between the surface of the earth and the ionosphere (high frequency). The third way is to hug the surface of the earth as it curves around. Radio waves of very low frequency most often travel this way.
`Source - Wikipedia´
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