Cause & Affect

APPLIED SCENOGRAPHY - Performance

2012-02-22T03:21:00.000-08:00

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.

2012-02-17T05:38:00.000-08:00

You know when.....

2012-02-01T16:09:00.000-08:00

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

2012-01-14T12:19:00.000-08:00

http://www.thomasjohnbacon.com/

APPLIED SCENOGRAPHY - Process

2012-01-06T12:17:00.000-08:00

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

2011-12-18T07:28:00.000-08:00

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

2011-12-08T08:36:00.000-08:00

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.

APPLIED SCENOGRAPHY

2011-11-24T09:24:00.000-08:00

When undertaking a task such as this I always find that an aesthetic rather than a concept forms in my mind. Sitting in the library with my eyes shut listening to contrasting compositions has led me to eliminate at least half of the list. There is material and worth in every piece, however there are 2 which are creating clear narrative structures; the Charlie Parker and the Hawkins/Dickinson. This may well be that they are 'conventional' in form. There is a freedom of expression in both however there is a defined style which they both adhere to. It is also a form of music which I am not unfamiliar with as I have been brought up with a sound knowledge of Jazz and improvisation, therefore I am positive that this is heavily influencing my gravitation towards these two songs. I'm Through with Love creates a distinct starting point by it's title alone, therefore I am cautious to proceed with this train of thought as it was not necessarily the piece of music that has actually inspired my imagination, rather the title is imposing an action and narrative upon my thoughts. To consider this track further would require a greater deal of concentration and erase the preconception of image already in place. Swedish Schnapps had a similar effect but in a much more diverse way and I had a much clearer 'removed' notion of what I wanted to create.
The other piece which illuminated my mind with image and context was the Sabilulungan. I found this composition to build image which I could connect to my usual stream of consciousness when creating work for performance.

I am therefore undecided as to which piece to consider for this task. Do I use the latter mentioned Sailulungan to maintain a particular aesthetic in my body of work or maybe it is better to explore and see how the aesthetic and narratives created with the other pieces can be manipulated to work in conjunction with my portfolio.

APPLIED SCENOGRAPHY

2011-11-24T08:28:00.000-08:00

Assessment:

Practical Study: Applied Scenographic exercise

The task:

To create a solo or direct a short live scenographic composition.

This project is to be inspired by one of the pieces of music provided (see below), conceived for performance in the Theatre and that lasts no less than 3 and no more than 5 minutes to which you must give a title and that needs to be introduced with a short written Research Statement (see below).

The Autumn Term task

is to conceive and plan this Spring Term project in advance together via the production of a simple storyboard and production plan (advice to be provide by the Convenor).

This plan will set out your aims on paper and provide a template to work from towards your performance in January. If you are directing, then you need to work with peers on the MA programme only (though if you wish to bring in collaborators from your Interdisciplinary project peers this can be negotiated). The Research Statement is for January.

The aim is to plan and then compose a very short performance that offers equally an experiment in the use of its elements and an engaging experience for the spectators. The performance must have a discernible form that gives it both clarity and simplicity. The piece should not be an abbreviation of an envisaged longer piece but work completely within the time constraint set. In short, this is an exercise in working scenographically using the sparest of ingredients. You may draw on ideas that have arisen in your classes and workshops, but in elaborating these do not simply plagiarise self or others.

The Spring Term Task

Constraints:

Besides the use of the space and your own/as many of your student peers’ bodies that you require (and can engage for rehearsals), you may use the existing lighting in the Theatre (or darkness) + one additional domestic light source (i.e. this project should require no special rigging of lamps in the Theatre). You may use video projection. You may use your musical source as a soundtrack but not the spoken word (dialogue). You turnaround time must not exceed 5 minutes (including set-up and strike) or you will receive a penalty of 10%. You will use student peers to operate sound/light/video as required.

What are we looking for?

Overall, we are looking for an artistic response to stimuli, transformed into live performance with the simplest of means. We are assessing your ability to create a very short live performance with a keen awareness of visual dramaturgy/scenographic systems – atmosphere, colour, material, clothing, presence, proxemics, space, light etc - and a strong sense of structure. The relation between both beginning and ending should be clear in terms of the performance itself and not need to be explained outside of it. The performance should demonstrate how you have thought about the presence of the audience as significant for – and within – its realisation and execution. Therefore, you may wish to direct the performance- spectator relationship so long as this falls within Health and Safety regulations and the organisation of this does not exceed your time limit.

We are also looking for excellent planning (as your storyboard should demonstrate) and clarity of purpose as your Research Statement should indicate.

Music:

Choose one of the following pieces as your stimulus. You may use this music during your performance or not (if you do use music in the assessment make sure you make a DVD copy from an original source if possible for high quality):

These pieces are on the VLE. Please let the Convenor know if you have any trouble in downloading them.

1. FLOE by Philip Glass

2. BAILERO from Songs of the Auvergne by Gomez

3. I'M THROUGH WITH LOVE played by Coleman Hawkins & Vic Dickinson

4. MOZART'S REQUIEM - finale

5. SWEDISH SCHNAPS - played by Charlie Parker

6. GOTTERDAMMERUNG - orchestral interlude after death of Seigfried

7. SABILULUNGAN - Degung music from Java

8. TEXTURE - by Graeme Miller

Date of Assessment:

December 5^{th :}

Delivery of your written element of this portfolio to the office by 12am

COLD IN BERLIN #2

2011-11-17T12:55:00.000-08:00

In my musings and mumblings regarding the theme of Astrology and the 'imminent' end of the world I have been recalling a piece that I performed for my audition at Goldsmiths for the MA course. This was a physical piece where I traversed the space I was placed in with a spindle of thread, the starting point of which was concealed in a perfect white box. As I moved around the space the thread followed, attached, trailed and even broke as the journey developed. With my body I reacted to how these events happened; elation when it trailed in unison with my body, evident frustration when I could not attach the thread where I wanted to, devastation at it's breaking point etc. When the thread broke, I attached it back to a point in the line where I had a happy 'safe' course of passage and therefore chose a different to move in from that point. The trace of the thread that was broken was still evident as a statement, as a reminder of a wrong choice. The end result of the piece was me rolling the thread towards the examiner, as the next part of my journey would be very much in their hands. I have attached an entry from my old blog which detailed my thought process.

I will seek to maintain this train of thought in my ideas for Cold in Berlin, as the first completely rejects the idea of fate and prediction of trait neatly juxtaposing the essential quality of the other.

SUNDAY, 17 APRIL 2011

Response 2 - Life Threads

As animates we inevitably impact on the environment around us in both negative and positive ways, leaving blemishes on hypothetical surfaces in order to learn how to preserve and treat them. Leaving a mark is something everybody strives to do, no matter how far down we suppress the urge, and this desire is rarely intentionally negative, moreover it is a desire to be held in esteem for how positive a life force you have been.

Each of us creates an invisible trail, a connecting thread which traces the journey we choose to embark on. It changes course, direction and intention as we do, prompting a contradiction in the concept of fate. The life thread can not be broken as we continue to survive, despite the efforts to eradicate memory and experience, however it remains constant in recording the return journey to the point of empowerment. It is vital to understand the fragility of this thread, it can become frayed, stained, strained, yet strengthened, brightened and enhanced from your expedition through life.

Hannah twinkle by hanmooreable

Yes ... This is me, when I was around 4 years old. My knowledge of stars remains pretty much the same.

INTERDISCIPLINARY COLLABORATION - Process

2011-11-17T09:51:00.000-08:00

This is edited footage of a day spent in one of the theatre & performance studios where we explored object, image and sound. There was a lengthy discussion from which I have taken only short succinct extracts which highlight some of the ideas we are keen to include within our collaborative performance.

As you may or may not be able to tell, we were all struck by the imagery and metaphor presented by elemental factors within the film and have therefore unanimously selected this as our starting point. Since this was recorded we have taken voice recordings of our own personal experiences and memories of water, fire and wind which will form a basis of 'narrative' for our performance.

READING

2011-11-11T05:45:00.000-08:00

Goldberg, S. 'When Wish Replaces Thought', Prometheus Books, Buffalo, NY, 1992.

Throughout this book Goldberg explores "Why so much of what you believeis false". Ultimately it is a snap shot of elements which he explores in order to explain to the reader how the world works and our methods of understanding how it works.
The chapters I have focused on are 8) Are Stereotypes True, and 9) Is Astrology Science?
Both of these chapters produce insightful reasoning for either side of the questions. It provides exploration into Darwinian theory and how it is formed as a structure in terms of selecting a 'property' to maintain a truth rather than a generalisation of how a species survives. Comparisons are then drawn using this theory in an attempt to explain how we define stereotypes and how this theory is applied to the scientific truth we search for in astrology.

COLD IN BERLIN #1

2011-11-11T04:48:00.000-08:00

A group of us on the MA course are planning to take a performance piece to Berlin for Christmas. With the new year rapidly approaching the theme and starting point for our piece is 2012 and the astrological implications connected to this year. I don't want to explain too much about that as I have very little awareness of it to be quite honest, and I'd like to keep it that way as it brings a completely different view point to the group. I don't mean this to say that I am working against the grain as this would be completely nonproductive, rather keeping my own cultural understandings without expanding through research so that they stay intact. Therefore rather than research what the implications are for us all in 2012, I am looking at what astrology means to me.

As do most people, I have an interest in horoscopes and the signs of the zodiac, in terms of compatibility, character traits, strengths and weaknesses. However I have always found this difficult to full accept in the same way I find religion an dubious concept. This would be primarily due to neither being a proven science.

I am very interested in the amount of faith and belief we place in astrology and how much we project what we read into our own lives subconsciously. As humans we actively seek a truth in everything to give it foundation in our lives and understanding of how the world works. Astronomy demonstrates mathematical equations in relation to celestial events through which astrology creates correlations in order to predict personality traits. Therefore I would surmise that astronomy is the truth or science at the foundation of astrology.

I am not discounting astrology, I am merely highlighting that it has fundamental mathematical flaws in terms of predicting our character traits. As of last week there are now 7 billion people in this world who in accordance with astrology all fit into 12 succinct categories in terms of character traits. There is of course the differentiation in birth year and place in the month which again draws on the correlation of celestial events and personality which give individuals a deeper understanding of their own existence, yet this does not excuse the 'fortune telling' and prediction of our fate which many turn to astrology for. This is with good reason, for if we can assess character through the movement of the planets, and we can predetermine the solar journey of these celestial bodies, then logically we should be able to predetermine events in our lives?

This idea of prediction is what intrigues me the most about the idea of astrology for I know many happy people who have bucked a trend in the compatibility table within relationships and I find it hard not to read other zodiac sign personality traits without being able to apply them to myself in some way. Therefore do we hold onto astrology as just another form of religion? Something to give us hope which therefore expels the need for rational and logical thought when it comes down to it's most fundamental truths and place within science?

Do we read our horoscopes with the same intentions as those that visit mediums and spiritualists, looking for some kind of indication that everything will be alright? I am not looking to disprove this either way, as I myself read horoscopes, have attended medium readings both as a group and on my own, and I would be the first to admit that all of these things are done as a means of finding something to hold onto. I struggle with the actual truth of it in the same way that I struggle to comprehend religion, yet I still pray when I feel that there is nothing left to help myself or those around me, when there is literally nothing more I as an individual can do. Apparently this is a very Aquarian trait!

In creating a performance, I will play and see what happens.

READING

2011-11-04T06:44:00.000-07:00

I won't be putting up every book I read. Mostly those that I don't own or just find of particular interest, as I am always useless at remembering where I have read things, and need the visual aid of the covers.

READING

2011-11-04T06:32:00.000-07:00

Ewles, C. 'Video Art, A Guided Tour', I.B.Tauris & Co Ltd 2005.

I have taken this book out of the library to gain more of an understanding about how video has been used, manipulated and saturated in performance. Though the book doesn't directly deal with the moving image in performance, it does offer an understanding of how the art form is expressed by the artist and conceived by it's audiences, with the challenges, limitations (or lack thereof) and expectations of modern society.

INTERDISCIPLINARY COLLABORATION

2011-11-04T06:19:00.000-07:00

My collaborative artists include two composers, two musicians, one writer and 3 performance makers (including myself).

We have all unanimously taken Tarkovsky's Mirror as our starting point and have discussed at length the use of imagery which I will detail further when I start documenting our process and my exploration next week. I want to avoid an analysis of the film here as we are keen not to create a homage; rather an interpretation and conceptualisation of it's images and themes.

ME - Performance

2011-11-04T05:56:00.000-07:00

I will post up the filming of this piece soon. I am waiting to get my hands on the footage from the other cameras as there is one element missing from what I have which would enforce completely different preconceptions on the film audience to those of the audience watching it live. Although I like the idea of how that has happened; as audience perceptions through alternative media is a focus for me, I have to keep this blog as a documentation process and analyse my performance from the live audiences POV as well. I may however post the footage up twice to maintain the idea of controlled exhibitionism; so that what I have just discussed can be illustrated for you.
Hopefully posting the footage and self analysis by the end of the week after my tutorial.

INTERDISCIPLINARY COLLABORATION

2011-10-26T00:30:00.000-07:00

MA Performance Making Composition A Autumn Term 2011

INTERDISCIPLINARY COLLABORATION WITH WRITERS/DRAMATURGS AND COMPOSERS: MA Performance Making in collaboration with MA Writing for Performance and MMus Composition students (Department of Music)

Guidelines for the collaborative assessment

Aims

The aims of this exercise are to encourage innovation and experimentation across your disciplines in order to find a performative language that reflects your collaboration. You will produce a short, 3 - 5 minute (maximum) piece to be performed on the day of assessment. In this context, ‘text’ is assumed to be any of the systems in operation, and not specifically the spoken word. It is for you to decide whether and how to use spoken text – as monologue, dialogue or multi-voice. You may decide to abandon its use altogether. The important thing is that every dramaturgical decision you make is by consensus. Performers will work as creative collaborators and not just as interpretive actors. Writers or Composers will work as creators of the overall ‘text’ in collaboration with devising performers. This may work in several ways during your process: you may write from the performers work, or the performers may work from the writers’/composers’ work. Or you may move between several kinds of collaboration and role. The vital thing is that you seek and find ways to build a very short work together that expresses your collaborative ideas and strengths.

The assignment

In your companies:

a) Study the films:

Battleship Potemkin by Sergei Eisenstein

Mirror by Andrei Tarkovsky

b) Read these above all in terms of theories of montage and filmic narrative, sound, image, performance etc and not just in terms of story-content. Choose one of these films on which to base your exercise. This is not necessarily an homage (though could be) and should be a piece of work that is inspired by (i.e. may refer directly or not to) the very different approaches to narrative in terms of editing, montage, camera work, use of light, sound, performance genre etc in each filmmaker’s work.

You may choose your own theme as a starting point, or use themes within the original.
You may choose to incorporate excerpts from the film in your actual performance (i.e. as projection) or depart from them altogether.
Examine the application of the editing approaches in such films to the live performance.
Examine the specific difference/similarities between film and live performance.

The choice of approach is yours, so long as you start from your chosen film.

The assessment

You will present these short pieces on the day of assessment on Thursday 15th December. Your performance for the assessment will take place in The Theatre. Please bear this in mind when conceiving your project i.e. make this space part of your mise en scene choices. There will be a maximum turnaround time of 10 minutes between each exercise! You may use costume, objects, furniture, basic lighting as feasible and to be arranged well in advance with the appropriate members of staff (with the only additions being domestic lighting). Sound and video projection may be used.

ME - Process

2011-10-19T04:49:00.000-07:00

Here is an edited montage of the footage I gathered from my experimental session the other day. I have selected certain parts for you to view which maintain the idea of controlled exhibitionism, yet also allows the audience to fill in the gaps.... How I got to that stage? What happened for me to do that? What is she filming/writing? Who is the other person in the room etc etc. I have no intention of answering these questions. I would much prefer the audience to use their imaginations and create their own mis/interpretations. This married with 'We See...' film demonstrate the core principles and themes supporting my piece.

Please don't pay too much attention to the Alanis Morissette track - I didn't think silence was necessary and it was the only reference I had to 'seeing' in my Itunes without offending at least 4 minority groups. I know this is incredibly lazy of me but I don't want to get caught up in the lack of technical excellence in this movie (I just don't have the time to make it as I'd like). This is purely a documentation of a process.

Comment and tear it apart please :)

ME - We See....

2011-10-18T17:49:00.000-07:00

Misinterpretation//Misrepresentation// How much do you really see?

Read the following, after watching.

This was a short film I made whilst (again) waiting for rehearsal space. The original text was written on a planter in the gardens of Toynbee Studios. I wanted to demonstrate how you can manipulate an audience into thinking that they are watching one thing when in reality it is quite another.

ME

2011-10-17T17:39:00.000-07:00

This was purely an accident. I was sat in a corridor waiting for the space I had booked at ArtsAdmin and thought I'd test the camera before I started filming my process, which will appear edited here later.

I thought I'd upload this as it demonstrates the fundamental essence of my project, in terms of how the box can obscure the details I choose to omit and highlight only what I want the voyeur to witness.

ME

2011-10-16T12:45:00.000-07:00

To integrate myself within my performance I prefer to work on ideals and concepts rather than feelings and emotions. This isn't to say that I would emotionally detach from my performance; as this would cause a complete loss of meaning, rather that the elements of myself I wish to include will be presented as what I want to achieve, as opposed to how I happen to be feeling regarding the 'box'. With this in mind I have to be clear about my intentions with this piece.

It must incorporate performative elements which I find engaging and wish to achieve within my own career in performance. Therefore for myself it must,

* Entertain

* Contain and element of humour

* Make the audience question what it is they are watching and how this is being achieved both physically and psychologically.

In terms of theme or content I have chosen to explore the hypocrisies of 'selective voyeurism'. This for me stems from an interest in the portrayal and presentation of 'information' in the media and how as an audience we receive only the information selected for us or just the information we have selected to take on board; i.e, reading only one newspaper's PoV. We form opinions and judgements based on this information, which theoretically carry evident inaccuracies when the whole picture is actually revealed. Acceptance is another matter.

Along side this I want to explore voyeurism in it's most basic and raw form, therefore I will be integrating paraphilia and sexual desire within my piece yet attempting to reverse the roles of the voyeur and the performer.

I also need to address how all of this has been created using the box as my starting point.
A BOX -
Creates metaphorical and physical categories
A gift
Protection
Stored
Hidden content

I will comment further on this later in the week as I am sure that I have unearthed fundamental flaws in my plan. Much needed R&D!

Han x

ME

2011-10-16T11:57:00.000-07:00

THE NON ASSESSED SOLO

Autumn: Formative

You will produce a 5-minute (absolute maximum) solo entitled ME

on TUESDAY 25th OCTOBER in the Theatre. This solo should be approached as an étude (study or exercise), a signature in space and time, a way of introducing yourself as an artist into the group. This means, to present your work in accordance with your own approach, taste, idiom etc. It is not so much to demonstrate your performance skills but in sharing how you ‘think performance’.

You will use the simplest of scenographic elements: a costume and a cardboard box. You may use speech, sound - or not - movement (or not). It is really up to you. You may use sound and the lighting already rigged in the Theatre plus any domestic light sources you may wish to use. It is essential to rehearse this beforehand and enlist each other to help technically in setting up so that the turnarounds for the showings are very swift! You will elect a coordinator to schedule and plan the day out from your peers.