APPLIED SCENOGRAPHY - Performance

Here is the only footage I have of my directed scenography project. I am still constructing the process documentation upload.

Unfortunately the camera angle is a little too far left of the audience therefore you catch some of the background action. As I will explain further in the critique I am not entirely happy with the amount of front light,  due to tech rehearsals being run before performances and set pieces were constructed. There are many other elements which I am unhappy about with this piece but again I will discuss these in detail soon.

Enjoy it for what it is.

You know when.....

You are that busy doing what you should be blogging about that you don't actually have time to blog about it!
Lots and lots to come in the next few weeks

We are sensitive, not censored

http://www.thomasjohnbacon.com/

APPLIED SCENOGRAPHY - Process

A very rushed and primitive example of stop animation which will be integral to my piece.

Lighting and camera angle need perfecting as well as materials, not to mention the quality of artistic expression, but I don't want to give too much away at this stage now do I. This was merely an exercise in software application.

INTERDISCIPLINARY COLLABORATION - Performance

Interdisciplinary Collaboration: Group Statement

SPEAK MEMORY

In the following work we have taken inspiration from Tarkovsky's film Mirror. In particular we have drawn on its themes of memory, control and the natural elements (notably fire and water). Our work explores these themes in two parallel processes, both of which begin with a memory in text. The first is an embodiment and physicalisation of a memory of water, restricted by spatial limitations. The second is an attempt to accurately recite a memory of fire, interrupted by aural obstacles.

Formally, we used compositional techniques similar to Tarkovsky's. For example, the use of simultaneous, often disparate, action; the use of subtlety shifting between distinct atmospheres; the often ambiguous nature of its imagery, which allows for multiple interpretations. We have explored these through the shifting focus between the two central actions, and the offering of alternative viewpoints through diametric audience positioning.

In the work, text, sound and action are in a relation of interdependency. In the first process, the vocalisation of the text as sound guides the substance and dynamic of the action. In the second, the text acts as the exemplar for an accurate recitation by the performer, the failure of which results in the introduction of the sound.

Signed: Madeleine Wilson, Uran Apak. Donal Sweeney, Hannah Moore, Tania Soubry,  Kate Treadell, Narinder Kalsey, Mohammad Ansari.

INTERDISCIPLINARY COLLABORATION - Process

Just a quick note to remind myself about today -
Progress on this reached it's optimum point today. I can only apologise profusely to myself for not having my camera present to capture the work, yet maybe on some sphere the same results would not have been achieved with the awareness of the outside eye.
We were able to play in the space with the elements, obstacles and confinements we had orchestrated for ourselves and our vision was at last being realised in performance.
For my own part, I am working predominantly with one musician and our 'duet' took on an extremely sinister and completely unexpected dynamic today, exploring nuances that we had not realised in the piece before through workshopping and discussion. He becomes my teacher, tormentor and dominator through the use of sound and his repetition of my own personal experiences. The dialectic finds no resolve and I am caught in a cycle of breathlessness through submersion in water and the frustration of telling my own story.
This in juxtaposition with a second 'duet' which does find a resolution heightens the impact and severity of our actions.