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Rough notes of the process – day 2

Observations on playing/setting by Kirsty Stansfield

Day 2 Les Brigitinnes

– Changes to lighting

– Introducing software

Take some time to figure out a structure, choosing images.
Analogy of computer desktop, going into different folders to suggest layers of different worlds.

There is a distinction between overlays / scores which could be seen/used as props, and photographic images which are triggered to set a scene. These may help to define some rules.

– Props / elements
– Scenes / scenography

It was also thought necessary to define entry and exit points, and clarify what / where the triggers are.

There are 2 games, one – the set up of the construct
Two – between each player

A possibility would also to assign a task to a zone. A task may act as atrigger zone, or as a structure zone, and backwards and forth.

– Preparing images correctly.

– Lunch –goats cheese rolled in ash – yum!

– Update new software onto An’s laptop.

– Yoga

– While Laia uploads and prepares “world” zone maps. Others prepare zone maps for each world.

First exercice:
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A chair provides consistent point

Voice provides narration and instruction, also cue for character to enter.

Silence and stillness good.

Small movements and tight link to change of score.

The dark video image with flesh lends a nice aesthetic, especially with blank screen and only sensed movements / the greyed square. Also the delay on the video image works with this aesthetic. A few steps behind, a trace , a memory.

External input given by scores, tighter narrative within the stage form the actors. This helps to sustain.

External input from screen, almost a third element. It is controlled by them but the instruction it delivers is external as it needs to be renegociated into the movement somehow. Do the voices find they change according to the score, or the intention (pre-agreed structure) behind the score, eg landscape, flat, city etc?

Nice that some scores aren’t revealed until later in the piece. The audience don’t see all at once. More control over when scores appear works.

[
discussion of where or how the story fits into larger improv. Words are fix things.

Make cuts.

People forgot the pre-agreed rules. Some made up their own.
]

better light, less shadow as daylight fades @ 6pm. Video image much clearer.

Can be confusing with trigger zones next to each other and images changes in rapid succession.

BUT, rapid change worked with close link to movement and sound, Rebecca and Matias – cressendo!

the composition comes through, the system is already complicated.

What do audience make of the composition, interesting relationship between compositional tools and audience, what do they get from it? How can they make sense of it it.

When use words, audience focus on this looking for meaning. The relationship between them, they look too.

Abstract in movement, in image and in movement. Also the two , abstract and concrete in everything.

Humour, can bring up abstract – juxtaposition.

2nd exercice:
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played more together, but less aware of totality. I do something but not looking to screen,

playing and doing stuff,

interesting to think about the character of the tool of interaction, incongruous interaction can be very powerful.

intuition in the moment, – in improv a reaction which has a result on the screen. But Rebecca believes there must be a connection with the screen.

Dorothy, can’t have relationship or connection to screen, it is between the people, and the audience

But the screen is input from the players. The realisation of when you are closely connected to what is happening in the screen.

Conscious choices have a place too.

A+R conversation worked.saying one phrase in isolation. Problem with things being open ended.

Be clear about what you are doing, strong decisions, even when you don’t know what you are doing. Follow though. This can bring about a change in the rhythm, can enforce a change of tempo with other players.

R – not a fan of random, touching air to see what happens.

Necessary to go have a zero point, go back to zero. A pause. To make everyone stop and take stock, to restart. – something everyone can do, even a verbal instruction.

Issue of camera taking a pyramid image form above.

The floor is also dark with new lighting set up, so tape wasn’t seen.

M – will bring contact mic for guitar.

It is so determining it is hard to be precise and not dominate scene and leave it there.

If you say something try imaging yourself in a situation while you say it so it comes out differently. Eg 2 people sitting on chair, and you say “it is hard to know you are leav9ng”. then put “honey” or “mum” before that,, make yourself a child. Name it for yourself it.

A – had a picture in her head, but an illustration connected to a movement.

R – maybe it doesn’t fit, with the situation, using humour. Not fitting, to put things in contrast, funny or inspiring. It sets up something for yourself, playing in the moment. So you know what you are doing.

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