Tower Arts In Winchester, responded to my e-mail today and asked if I am still interested in booking space....YES YES...I shall e-mail them back and try and find out what they have and how much it will be.
I did some work today on my Groundworks submission. I will post them separately as they are a little long.
Tuesday, 10 April 2007
Reflective Practitioner: More thoughts on space
I have been doing some more reading to see if I can find a solution to my seating problem but everything that I have looked at really confirms my own thoughts, Bert O States remarks, ‘that theatre is a license for a remarkable exercise in group imagination.’ I am inclined to agree, however, I will not be asking the audience to silently fulfil their role and accept their agreement to collaborate with the fiction but instead I will be asking them to actively engage with the performers, to materially take part in an exercise of group imagination and creation. My intention is to embody that exercise of group imagination and make it something visceral and tangible.
In making my creative decisions, this is my key objective and it seems that spatiality plays a huge role in offering the audience the chance to take up their creatorly role within Siren Song. Stanton B Garner also affirms the centrality of space when he suggests:
‘Bodied Spaces is a book about two of drama’s mot essential and elusive elements: spatiality, though which plays establish fields of visual and environmental relationships, and the human body, through which these fields receive their primary orientation. It is also a book about theatrical watching, and about the spatial conjunction of bodies, objects and other performative elements that constitute at once the object of such watching the fields in which it takes place.’
Although both Garner and States are concerned with drama, I want to suggest that their theoretical strategies have application within the wider arena of performance. Space it would seem is a central idea to the idea of creatorly participation whether it be material or conceptual.
In making my creative decisions, this is my key objective and it seems that spatiality plays a huge role in offering the audience the chance to take up their creatorly role within Siren Song. Stanton B Garner also affirms the centrality of space when he suggests:
‘Bodied Spaces is a book about two of drama’s mot essential and elusive elements: spatiality, though which plays establish fields of visual and environmental relationships, and the human body, through which these fields receive their primary orientation. It is also a book about theatrical watching, and about the spatial conjunction of bodies, objects and other performative elements that constitute at once the object of such watching the fields in which it takes place.’
Although both Garner and States are concerned with drama, I want to suggest that their theoretical strategies have application within the wider arena of performance. Space it would seem is a central idea to the idea of creatorly participation whether it be material or conceptual.
Thursday, 5 April 2007
Reflective Practitioner: Space
I think that the architecture of the space is essential in setting up both the physical and psychological contracts between the work and its audience. The architecture sets up conventions of behaviour and perception and also sets up particular expectations in the audience. It is therefore, vital for me to have an informal horseshoe style staging and seating arrangement. If I am to have any hope of exploding the liminal space and setting up a space that has the potential to be participatory and that creates a dynamic relationship between audience and performer, then the usual end on, apron or thrust scenario has to be re-thought and re-configured. I believe that it is the material space that is key to achieving the audiences role as ‘material creatorly participants’, if I remove the actual physical barriers and boundaries that traditionally separate the audience and performer then I will be generating a space, physically and conceptually in which the audience and performer co-exist. In this way, I am considering the relationship that art, especially live art and performance art, has with its audiences. I need to make the performance space entire and encompassing, very much like a gallery or installation space. The right conditions have to exist; the right space has to be created in order for a creatorly participatory exchange to happen. The audience need to feel that there is no separation between the ‘performance’ space and auditorium; I will need to remove the divide so that to participate they do not have to cross over or enter into the ‘performance space’ because they will be in that space, as soon as they enter into the event.
Although I will be able to create a horse-shoe of seating within the space, I am concerned that having the end on seating bank up as well compromises the space physically and conceptually. I do not want to send mixed signals to the audience and I feel that having the seating bank up confuses the space and is very much in danger of undermining the conceptual aims of the project. My other fear of course is that the audience will automatically head straight for the darkened, safety of the seating bank.
I, however, now have no choice it would seem than to try and work around this but I have given some thought to ways in which I can try to utilise and make work the space and conditions that I do have:
I will ensure that the ushers fill up the horse-shoe seating first and encourage people not to sit on the seating bank. Sitting the audience in a horse-shoe, means that they will be facing each other and be on all sides of the performers. I will ensure that they are well lit, so that they can see each other clearly and to feel as though they are part of the performance space. I am still not convinced that this seating arrangement will produce the ‘space’ that I am hoping for but I am just going to have to make it work with the limitations that I have been given as I really have no other choice. My hope is that I will be able to achieve my seating arrangements and space within one of the external venues.
Patrice Pavis discusses various modes of the audience’s reception processes in the 1997 publication, New approaches to Theatre Studies and Performance Analysis. She suggests that our ways of looking are ‘affected by more than just light bouncing off our retinas’, she implicitly implies then, that architecture does indeed play a big part in the audience’s perception.
Pavis asserts that, ‘one can imagine the spectator at the epicentre of a scientific earthquake, endowed with three kinds of visions: psychological, sociological and anthropological. These three perspectives are distinct but complimentary, framing many concentric circles which widen individual and psychological perspectives endlessly, taking them towards a sociological vision and to an anthropology where the scenic work reconnects with the surrounding human reality of the spectator’. Although findings in cognitive sciene may take issue with Pavis’s assertions on how these things actually come together to inform our reception and perception, they do acknowledge that these elements she designates do play a role. I think that Pavis is useful in approaching the idea of the spectator and gaze as a starting point.
The audience’s position not only sets up conventions and contracts but it also positions their gaze. This is something that I will need to think carefully about. My hope is that as the audience get up to participate, they will be shifting their gaze. Their gaze will not be entirely on the performers but on each other and themselves.
In the same text, Gad Kaynar also recognises the impact that architecture has upon the role and gaze of the spectator.
‘Sociological and socio-theatrical studies relate to the idea of response programming both Sui generic, having to do with social norms, conventions and codes [I would suggest that this includes the architecture of the space both materially and conceptually]-as asserted by reception-orentated critics from Elizabeth Burns to William Sauter and Susan Bennett- and by proxy, though the social paradigms that this discipline derives from the theatrical situation.’
I think that this is alo interesting in terms of the structure of my piece, Siren Song; in using games, tasks and structure that are taken from familiar social situations, (mostly from the children’s birthday party), we pull the everyday into a performative situation and in doing so make it strange. By using party games that the audience will be familiar with we are alluding to specific codes and conventions but in the same moment problematising them. It is my hope that the games will offer something comfortable and thus an easy way to participate within a recognizable framework of social codes but at the same time will re-frame those activities drawing attention to them as a strategy for community, communication and participation
Although I will be able to create a horse-shoe of seating within the space, I am concerned that having the end on seating bank up as well compromises the space physically and conceptually. I do not want to send mixed signals to the audience and I feel that having the seating bank up confuses the space and is very much in danger of undermining the conceptual aims of the project. My other fear of course is that the audience will automatically head straight for the darkened, safety of the seating bank.
I, however, now have no choice it would seem than to try and work around this but I have given some thought to ways in which I can try to utilise and make work the space and conditions that I do have:
I will ensure that the ushers fill up the horse-shoe seating first and encourage people not to sit on the seating bank. Sitting the audience in a horse-shoe, means that they will be facing each other and be on all sides of the performers. I will ensure that they are well lit, so that they can see each other clearly and to feel as though they are part of the performance space. I am still not convinced that this seating arrangement will produce the ‘space’ that I am hoping for but I am just going to have to make it work with the limitations that I have been given as I really have no other choice. My hope is that I will be able to achieve my seating arrangements and space within one of the external venues.
Patrice Pavis discusses various modes of the audience’s reception processes in the 1997 publication, New approaches to Theatre Studies and Performance Analysis. She suggests that our ways of looking are ‘affected by more than just light bouncing off our retinas’, she implicitly implies then, that architecture does indeed play a big part in the audience’s perception.
Pavis asserts that, ‘one can imagine the spectator at the epicentre of a scientific earthquake, endowed with three kinds of visions: psychological, sociological and anthropological. These three perspectives are distinct but complimentary, framing many concentric circles which widen individual and psychological perspectives endlessly, taking them towards a sociological vision and to an anthropology where the scenic work reconnects with the surrounding human reality of the spectator’. Although findings in cognitive sciene may take issue with Pavis’s assertions on how these things actually come together to inform our reception and perception, they do acknowledge that these elements she designates do play a role. I think that Pavis is useful in approaching the idea of the spectator and gaze as a starting point.
The audience’s position not only sets up conventions and contracts but it also positions their gaze. This is something that I will need to think carefully about. My hope is that as the audience get up to participate, they will be shifting their gaze. Their gaze will not be entirely on the performers but on each other and themselves.
In the same text, Gad Kaynar also recognises the impact that architecture has upon the role and gaze of the spectator.
‘Sociological and socio-theatrical studies relate to the idea of response programming both Sui generic, having to do with social norms, conventions and codes [I would suggest that this includes the architecture of the space both materially and conceptually]-as asserted by reception-orentated critics from Elizabeth Burns to William Sauter and Susan Bennett- and by proxy, though the social paradigms that this discipline derives from the theatrical situation.’
I think that this is alo interesting in terms of the structure of my piece, Siren Song; in using games, tasks and structure that are taken from familiar social situations, (mostly from the children’s birthday party), we pull the everyday into a performative situation and in doing so make it strange. By using party games that the audience will be familiar with we are alluding to specific codes and conventions but in the same moment problematising them. It is my hope that the games will offer something comfortable and thus an easy way to participate within a recognizable framework of social codes but at the same time will re-frame those activities drawing attention to them as a strategy for community, communication and participation
Makers Diary: The Space
I had a meeting today with David Buss at the Performance Gym, we talked through all of the bits and pieces that I sent him in the e-mail.
The space is great but it is a real shame they can't take the seats down...it would give us more room. I will need to come up with an alternative for writing on the floor...shame I really wanted to inscribe the space with text...like the idea of chalk traces...but I will have to put my thinking socks on and give it some thought.
I am not actually that restricted by the space or facilities...at least now I know what it looks like so I can bear that in mind while I am working on the piece...good.
My main concern is the seating arrangements...I still think that by not having the arrangements that I need I will be jeopardising the concept of the show...we will have to see but I am not convinced that a traditional end on set up will be effective in achieving my aims....
The space is great but it is a real shame they can't take the seats down...it would give us more room. I will need to come up with an alternative for writing on the floor...shame I really wanted to inscribe the space with text...like the idea of chalk traces...but I will have to put my thinking socks on and give it some thought.
I am not actually that restricted by the space or facilities...at least now I know what it looks like so I can bear that in mind while I am working on the piece...good.
My main concern is the seating arrangements...I still think that by not having the arrangements that I need I will be jeopardising the concept of the show...we will have to see but I am not convinced that a traditional end on set up will be effective in achieving my aims....
Wednesday, 4 April 2007
Makers Diary: Staff
I sent an e-mail to Sharon today to find out what the progress is on staff....I can't advertise until it has been confirmed....time is running short and I want to have plenty of time in which to make the work..devising needs time and I would hate to have to rush it.....ahh...I feel so powerless at the moment...I am constantly checking my mail in the hope I will get through something that will give me the go ahead...I am so frustrated.
Monday, 2 April 2007
Makers Diary: Marketing & Artwork
I had a telephone meeting today with Kirsty Mills my art & photography collaborator and we discussed some ideas for the company logo and for the marketing material for the show.
She is gonna work up some proofs and send them over to me to have a look at.
She is a total star and I am looking forward to seeing her idea...should have found a way to tape the conversation really as we chatted about all kinds of thoughts and ideas.
She is gonna work up some proofs and send them over to me to have a look at.
She is a total star and I am looking forward to seeing her idea...should have found a way to tape the conversation really as we chatted about all kinds of thoughts and ideas.
Sunday, 1 April 2007
Makers Diary: Music
I had a message from Joe Harris today about some sound issues. He suggested that it might be worth him contacting my friend Leah (random woman) who sings in a band to see if she might do the vocals for the soundscape...I said yeah go for it she has a great sound...if you wanna hear she is in my friend network and has tunes on her space x
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