Thinking about the aesthetic of the performance space - what this world might be - how to simultaneously create an environment that is tangible and yet not 'there'.
I'm thinking very David Lynch. Mitnik is caged, or boxed in some way (a medium sized box - not one that can just fit her alone and not so big that it could just be interpreted as the room we are performing in), but there should be a sence of the domestic/ familiar and yet odd or displaced. This 'box' I'm seeing more like a frame of a box where the definition between the interior and exterior worlds is agreed upon through communal imagination (includig the audience's). Some adjustment as to scale or position or expectation of things that we recognise but don't look quite right - slightly out of context. I am dreaming of excessive red plush, an armchair or several out side the 'box/cage' looking in at it.
Is this a soundless or music-less world? Is it a dead sound or a constant echo or is there some other sound unfamiliar but symbolic of the outside environment we never quite see. A sound of a machine (the life support) etc...what kind of orchestration...just Olivia's voice but fed through samplers and the like to create whole symphonies at times?
It feels appropriate, given Olivia's history with performance, that the grotesque should be embraced and played with in some way.. don't exactly know what that is yet..but does Mitnik have a tin that she can relieve herself in in front of the audience etc - does her body do things in a different rhythm to the memories being articulated - such as her body needs to eat or sleep,is it performing it's function in the factory, which is a separate world to the disembodied voices channelling through it....
Opportunities for dealing with movement - distrupted as it were...
I'm thinking the audience can move around the space and are not limited to sitting in a conventional seating bank..
Be great to have interactive live video and use a 'screen' as another performance space - another stage- one dream is to have one of those mini cameras that maybe can be down Liv's 'jumper' which she can go into ie pull the sweater over her head and use the camera then as the stage so in front of us hse is hidden but we can access her through the technology instead..
This is all in response to everything as has beeen put out there above as well as my own thoughts - except for Olivia's thoughts on the performance becasue I couldn't access them for some strange reason - so Liv if this is a direct clash to what you already wrote I do apologise..:)lets hope there are some unusual and happy/ effective similarities. It is a strange way around to be creating thoughts - ie when the text has not been developed yet - but I kinda see part of my job as bringing the images to bare.
the performance...
Thinking about the aesthetic of the performance space - what this world might be - how to simultaneously create an environment that is tangible and yet not 'there'.
I'm thinking very David Lynch. Mitnik is caged, or boxed in some way (a medium sized box - not one that can just fit her alone and not so big that it could just be interpreted as the room we are performing in), but there should be a sence of the domestic/ familiar and yet odd or displaced. This 'box' I'm seeing more like a frame of a box where the definition between the interior and exterior worlds is agreed upon through communal imagination (includig the audience's). Some adjustment as to scale or position or expectation of things that we recognise but don't look quite right - slightly out of context. I am dreaming of excessive red plush, an armchair or several out side the 'box/cage' looking in at it.
Is this a soundless or music-less world? Is it a dead sound or a constant echo or is there some other sound unfamiliar but symbolic of the outside environment we never quite see. A sound of a machine (the life support) etc...what kind of orchestration...just Olivia's voice but fed through samplers and the like to create whole symphonies at times?
It feels appropriate, given Olivia's history with performance, that the grotesque should be embraced and played with in some way.. don't exactly know what that is yet..but does Mitnik have a tin that she can relieve herself in in front of the audience etc - does her body do things in a different rhythm to the memories being articulated - such as her body needs to eat or sleep,is it performing it's function in the factory, which is a separate world to the disembodied voices channelling through it....
Opportunities for dealing with movement - distrupted as it were...
I'm thinking the audience can move around the space and are not limited to sitting in a conventional seating bank..
Be great to have interactive live video and use a 'screen' as another performance space - another stage- one dream is to have one of those mini cameras that maybe can be down Liv's 'jumper' which she can go into ie pull the sweater over her head and use the camera then as the stage so in front of us hse is hidden but we can access her through the technology instead..
This is all in response to everything as has beeen put out there above as well as my own thoughts - except for Olivia's thoughts on the performance becasue I couldn't access them for some strange reason - so Liv if this is a direct clash to what you already wrote I do apologise..:)lets hope there are some unusual and happy/ effective similarities. It is a strange way around to be creating thoughts - ie when the text has not been developed yet - but I kinda see part of my job as bringing the images to bare.