As I am doing my own experiments in looking at the performative qualities of the technicians work I am also looking at this performativity in disciplines that I think I can take inspiration from. I try to analyze these disciplines that draw in and captivate audiences to see similarities and differences to explore ways of sharing the work of technicians in a performative way.
These are for example:
dance
mime (broader than just pantomime)
Circusacts (acrobatics and feats of strength)
Analyzing these images
In these images I see certain body positions reocuring, some images also start creating stop motion-esque movement
They are all of body positioning and less of details, such as hands or limbs
These images display focus and intentionality but do not give the spectator an insight in the specific effect of the actions performed.
The Flying Wallendas, with Karl Wallenda standing on the chair, in 1967. (AP Photo/Harold P. Matosian)
I am interested in movement and dramaturgical effect achieved through choreography. And looking at choreography of people creating scenographic work.
The acrobatic performance is starting to become a big inspiration as it contains similar elements to the work of technicians. Let me explain.
Both disciplines contain levels of risk, that are mediated through the level of expertise and skill of the individual performing the action.
In acrobatic acts such as tightrope performance, this risk and display of skill is what engages the audience, perhaps the elements of risk in the work of technicians, such as timings and physical acts of setting up complex sets can be framed to allow the audience to perceive this risk, and through it become invested and engaged in the act.
Staging silence
This example inspires the drama and communicative strength of small detailed movements.
The detail enables the spectator to relate to the performance on the level of how the work is being created before their eyes.
Based on feedback from Johannes Bellinkx, Han Buhrs and the video of Hans op de Beeck A new experiment looks more into detailed, small scale movement, of hands or limbs.
These images show more details and give a different view on the choreographical acts of the technician. In relation to conversation with Johannes Bellinkx about the way framing also creates a certain knowledge for the viewer that there is also something out of frame, creating tension. I also try to become conscious of the way framing decides what information is and is not available to a spectator. The way of collecting/taking photographs perhaps is starting to relate to another theme in my research about exposing the unseen work and proposes a way in which framing can be a way to assist in creating the awareness of an 'essential backstage' not through directly showing it but by making the spectator aware of the presence of what is going on beyond the frame.
During discussion about the previous captured images the fact that the images are staged, as I am both the person who takes the image as well as the subject. These images also only contain one individual, contrary to many performances and the nature of the work of technicians, which frequently a collaborative effort. For this reason I contacted Theater Rotterdam and captured their technicians in action, hoping they will not adapt their usual performance due to the presence of a camera, as well as being able to capture instances of collaboration as this has not been previously present in my pictures.
