Open tasks. (Entry points)
Physical action, state (emotional, mental...), where I am?, what do I want?, who else is in the space?, I do, it happens to me
With the audiance and with myself.
To look at the audiance directly into their eyes. Acknoledge their presance. Switch from being with them, being inside the reality where I don't see them.
See/acknoledge/adress them as "Martí the perfromer"
See/acknoledge/adress them as the character
Don't see/acknoledge/adress them as "Martí the perfromer"
Don't see/acknoledge/adress them as the character.
What is real what is fiction?
Anuncement:
Instructions for the happening of now.
Please enter and ocuppy the space. From now on all the floor has become the stage. You nay leave the space at any moment. But I'll love for you to stay.
Move.
_______________________________________________________
you are not safe from interaction. Respect your's and other peopl's bonderis. Don't do anything you don't want to do. If you don't want to be interacted with you can leave the space now or at any moment, or move around in space and show/communicate to the pefromer, if the time of interaction comes, your non interest.
by leaving the space and or moving around. If you do not want to be interacted with the safes option is to leave the space, or move around. Most likely you can find comfort in the audiance around you, where your rol is.
I gave myself two weeks to let the feedback of the solo resonate with me. What is the next step for me to take now?
I found myself, trying to make the decision, looking into the future of what the possible outcomes of this research might bring me. I worried I would walk a path that someone else already walked. The word research, for me, has a connotation of doing and discovering places that no one else has done before, and character research has been done loads of times. After a talk with my mother, I realised that practice-led research is not about discovering the undiscovered, but about having a self-learning place. How to build a sustainable learning practice, through practice-led research?
Now is the beginning of my practice-led research. The solo was a throwing of the cards on the table of interest I needed to go through to see what was there, at that time. From that, character research.
Magical realism
I know it's not the same
Reality and fiction cohexist. Me sharing with the audiance the fabricated reality of what they have infront.
How to generate a fiction?
Wish - Express desire, unlikely to happen
Want - Express desire, possible to happen
If I want B to happen I need A to happen
A performance is something that the audience exparianceies. I want my performances to have an impact on the audience. My theory is that with a higher emotional engagement, the message will come through. People don't remember what you said, but how you made them feel.
I wonder if the performance will have a higher impact by having the audience be in it, in the middle of the action, having to move around.
I don't want my audience to be a passive observer. The performance is happening in the same room as the audience, there is no 4th wall (energetically speaking), acknowledge the audience.
It's fiction, not real, played to a high degree of truth, and the audience is in it on the "joke"
Patrol:
an expedition to keep watch over an area, especially by guards or police walking or driving around at regular intervals.
The possibility of having the power figure out of gaze, but we can only hear it.
The pain that we have on stage is for the amusment of the audiance.
Give meaning to the pain
Character
The mental and moral qualities distinctive to an individual
In narrative generally, a character is a person depicted within a story, either through description or direct speech; in drama the term usually refers only to persons portrayed by actors.
The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made.
"a part played by an actor.(Before this development, the term dramatis personae, naturalized in English from Latin and meaning "masks of the drama", encapsulated the notion of characters from the literal aspect of masks.) Character, particularly when enacted by an actor in the theater or cinema, involves "the illusion of being a human person".
A character who stands as a representative of a particular class or group of people is known as a type. Types include both stock characters and those that are more fully individualized
Infinite activities:
Counting someon's freckles
Duesting yourself off
Fixing your hair
Reajusting your clothes
Recomposing yourself
Collect something
Whiping your nose
Looking for your keys
Preparing to show something
Absent / Zoning out
Brooming
Listening to your articulations
Talking to yourself (mumble?)
Soothing your pain
Looking/trying to hear for a feeling inside of you
Greating someone
Hid/conceal/cover your emotional state to the audiance
As Wolfgang Iser points out in "Interaction between text and reader", the difference between face-to-face interaction and text-to-reader. A text can not adapt itself to each reader it comes into contact with. The partners in dyadic interaction can ask each other questions in order to ascertain how far their images have bridged the gap of the inexperienceability of one another's experiences. The reader, however, can never learn from the text how accurate or inaccurate are his views of it. [...] Here, then, in conditions and intention, we find two basic differences between the text-reader relationship and the dyadic interaction between social partners.
Now, it is the very lack of ascertainability and defined intention that brings about the text-reader interaction, and here there is a vital link with dyadic interaction. Social communication, as we have seen, arises out of the fact that people cannot experience how others experience them, and not out of the common situation or out of the conventions that join both partners together. The situations and conventions regulate the manner in which gaps are filled, but the gaps in turn arise out of the inexperience- ability and, consequently, function as a basic inducement to com- munication. Similarly, it is the gaps, the fundamental asymmetry between text and reader, that give rise to communication in the reading process; the lack of a common situation and a common frame of reference corresponds to the *no-thing', which brings about the interaction between persons. Asymmetry and the 'no-thing' are all different forms of an inde- terminate, constitutive blank, which underlies all processes of interaction. With dyadic interaction, the imbalance is removed by the establishment of pragmatic connections resulting in an action, which is why the preconditions are always clearly defined in relation to situations and common frames of reference. The imbalance between text and reader, however, is undefined, and it is this very indeterminacy that increases the varicty of communication possible.
Now, if communication between text and reader is to be successful, clearly the reader's activity must also be controlled in some way by the text. The control cannot be as specific as in a face-to-face-situation, equally it cannot be as determinate as a social code, which regulates social inter- action. However, the guiding devices operative in the reading process have to initiate communication and control it. This control cannot be understood as a tangible entity occurring inderpendently of the process of commuication. Although exercised by the text, it is not in the text. This is well illustrated by a comment Virginia Woolf made on the novels of Jane Austen:
Jane Asuten is thus a mistress of muh deeper emotion than appears upon the surface. She stimulates us to supply what is not there. What she offers is, apparently, a trifle, yet is composed of something that expands in the reader's mind and endows with the most enduring form of life scenes which are outwardly trivial. Always the stress is laid upon character . .. The turns and twists of the dialogue keep us on the tenterhooks of suspense. Our attention is half upon the Present moment, half upon the future . .. Here, indeed, in this unfnished and in the main inferior story, are all the elements of Jane Austen's greatness.
What is missing from the apparently trivial scenes, the gaps arising out of the dialogue - this is what stimulates the reader into filling the blanks with projections. He is drawn into the events and made to supply what is meant from what is said. What is said only appears to take on signif- icance as a reference to what is not said; it is the implications and not the statements that give shape and weight to the meaning. But as the unsaid comes to life in the reader's imagination, so the said expands' to take on greater significance than might have been supposed: even trivial scenes can seem surprisingly profound. The *enduring form of life' which Virginia Woolf speaks of is not manifested on the printed page; it is a product arising out of the interaction between the text and reader.
Communication in literature, then, is a process set in motion and regulated, not by a given code, but by a mutually restrictive and magni- fying interaction between the explicit and the implicit, between revelation and concealment. What is concealed spurs the reader into action, but this action is also controlled by what is revealed; the explicit in its turn is transformed when the implicit has been brought to light. Whenever the reader bridges the gaps, communication begins. The gaps function as a kind of pivot on which the whole text-reader relationship revolves. Hence, the structured blanks of the text stimulate the process of ideation to be performed by the reader on terms set by the text. [...]
In order to spotlight the communication process we shall confine our consideration to how the blanks trigger off and simultaneously control the reader's activity, Blanks indicate that the different segments and patterns
What do(n't) we show.
A combination of things we do (and what we don't do), how we do these things (and how we don't do them), our awarness (and our ignorance), our perception of reality, our morals (if we follow them or not), our language (and what languages do we speak and how do we react when we are faced with this.
How do we behave in situations.
Behaviour
The way in which one acts or conducts oneself, especially towards others.
in response to a particular situation or stimulusBehaviour
The way in which one acts or conducts oneself, especially towards others.
in response to a particular situation or stimulusDistortion
pull or twist out of shape.
Artifice
clever or cunning devices or expedients, especially as used to trick or deceive othersAfter some time, I feel that I need an emotional state to lach onto. Plain actions seems quite empty. In the action I could sense there is a possibility of an emotion coming up, and I could pull from there. Maybe I can spend mroe time developoing the first action until an emotional state arrives, and then make space for the new action to arrive.
I had a meeting with Krisel for my group performance (my minor).
In the conversation Recurssive narrative came up.
https://medium.com/@absolutenegation/recursion-6e7b6d919e77
With this tool I intend to shake my linear narratives, and enter into more playful ones.
MTT: In psychology, mental time travel is the capacity to mentally reconstruct personal events from the past (episodic memory) as well as to imagine possible scenarios in the future (episodic foresight/episodic future thinking).
Sense memoria i sense desig
ALINEATION EFFECT, idea central to the dramatic theory of the German dramatist-director Bertolt Brecht. It involves the use of techniques designed to distance the audience from emotional involvement in the play through jolting reminders of the artificiality of the theatrical performance.
Examples of such techniques include explanatory captions or illustrations projected on a screen; actors stepping out of character to lecture, summarize, or sing songs; and stage designs that do not represent any locality but that, by exposing the lights and ropes, keep the spectators aware of being in a theatre. The audience’s degree of identification with characters and events is presumably thus controlled, and it can more clearly perceive the “real” world reflected in the drama.
Brecht conceived the alienation effect not only as a specific aesthetic program but also as a political mission of the theatre. Inspired by the philosophies of G.W.F. Hegel and Karl Marx and by Viktor Shklovsky’s theory of ostranenie (“making it strange,” or defamiliarization), Brecht regarded his method as a way of helping spectators understand the complex nexuses of historical development and societal relationships. By creating stage effects that were strange or unusual, Brecht intended to assign the audience an active role in the production by forcing them to ask questions about the artificial environment and how each individual element related to real-life events. In doing so, it was hoped that viewers would distance themselves emotionally from problems that demanded intellectual solutions.
the “epic” (narrative, nondramatic) theatre is based on detachment, on the Verfremdungseffekt (alienation effect), achieved through a number of devices that remind the spectator that he is being presented with a demonstration of human behaviour in scientific spirit rather than with an illusion of reality, in short, that the theatre is only a theatre and not the world itself.
Explicit - Implicit
Will the audiance be more active if there are parts of the story that are implicit? Not everything laid infront of them?