Monday, 1 March 2010

Thoughts and ideas by “Inbetween Spaces 2” group ( Fernando, Mehdi, Nilo, Ole and Thomas)

Our group was discussing the idea of “mapping” the stage by determining various spots that connect the “Inbetween Spaces”,. Each spot requires a particular kind of action, gesture and/or behaviour, which the performers (musicians or other) are free to interpret/execute in their own way. These spots, which will only be illuminated (and therefore be visible), if a performer is moving from one “connecting point” to the other. WHEN that will happen and WHAT event will set WHICH performer(s) into motion, still needs clarifying.

Mehdi suggested that “an image of a coridor” (or a passage, door, gate, stairway, escalator, ladder, veins, wires, holes, birth canal, corridor, hallway, mouth, ears, eyes etc. ) “or a sound or an act like singing or playing a line” could trigger it off.

Apart from that, the performer should be free to move to either one of the spots. This kind of “strategy” allows to control motion on stage to a certain extent without making the result predictable.

We were also revisiting the idea of the “Surreal House” as a place in a constant state of flux and change, which we all appreciated. But when we thought of the musicians, for example, moving across the stage with their “traditional” instruments, we all agreed that this would end up being to confusing.

So we thought of the musicians as actors who could act in a musical, visual and also dramatic way. The first idea that came up was to dress the group of people which belong to the “Inbetween Spaces” group in black costumes, which have a large white space in the shape of a keyhole (a keyhole looks like an abstract image of a body) painted on the front and which could serve as a projection surface for things that go on behind the doors of each room.
Then Nilo suggested that it might be better to have keyholes projected on static screens, which show moving image content when one of the rooms is featured.

When we talked about the musical side of the performance, we all agreed that we would rather have the musicians performing in a “musical” way, but utilizing objects that belong to the setting, instead of going down the familiar road of having them create a “soundtrack” to the performance.

Last but not least, we all seemed to find appealing the idea of the “Surreal House” as a living organism (house=body/body=house), in which the barriers between the “internal” and “the external” are blurred.

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