Step 1

If our senses do not work together, does our perception of the world around us change? Does hearing help us give a clearer picture of the space around us? If hearing is restricted will imagination or other senses take over? What about our feelings? Do stereotypes prevail our senses? Is hearing under or over-estimated these days?

“We can experience sound in time and space
as well as in our memory and imagination”.
Christine McCombe

What I noticed from all the interviewings is that people were imagining things,were inventing stories,were talking about memories,hearing with earplugs is not completely restricted,they were getting distracted sometimes,some of them got performers and also they were focusing on the details of the acoustics of each space.

Questions and thoughts on my research:

-What kind of space I want to create?

-In what way I want the spectator to
experience the space?

-Responses from people with an active way?Performative way?

-Do I really want to continue interviewing people or noticing their reactions?

-Inventing a different format of interviewing-

Let myself more free (not to be so strict)-

To take my interviewings as a material and 

not as data

-What is Scenography for me? Story or stories
to tell in space(s).

Step 2

After this research I continue with the same motif of sound-space and also I liked the idea of people that invented stories and got performers ,and started taking videos from indoor spaces which I started editing them and became somehow fictional spaces.My desire was to activate spectator’s fantasy and making them performers at the same way.What I did next was to project one of these videos in a big black room,I set a microphone with some reverb and delay effects,looping my voice with some guiding questions for the spectator(hello,what’s your name?are you here?where are you?) and also set one live camera that he/she could see his/her body in the projected video.I wanted from the spectator to feel that could be somewhere else and not there.

“To broaden the concept still
further aural architecture incudes
the creation of spatial experiences
where a physical space does not
actually exist, so-called virtual,
phantom, and illusory spaces.”
(Spaces Speak, Are You Listening?
by Barry Blesser and Linda-Ruth
Salter)

This project didn’t work so much as I expected because the spectators were afraid of being displayed.They also felt shy to respond to the microphone.Therefore,the artistic process of thinking and making is not so easy as it seems because most of the time you will meet difficulties and you will find yourself lost ,wondering what are you doing and why.What is your purpose?What is spectatorship for you?What is Scenography for you?These are some of the questions that I am also dealing with,the second semester.

Thoughts on Spectatorship

I believe that scenography is not only a story to tell in space(s) but also a medium of communication with the spectators.It is a way to make them feel and think,look within themselves, increase their empathy.Empathy is the next key-word for my approach to spectatorship.“We are spiritually rich, writes S.Marcus (1997, p. 80), only to the extent that we can enrich ourselves with empathic experiences, and we gain the depth of spiritual understanding only when we come to truly understand those around us.” I think that if all of us were more empathetic,the world would be a better place. Personally I find important that artists and spectators can share things,can be seeing as one.I also strongly believe that our artistic community can help and move forward to a social change because it is not only about our artistic view as artists in a way of focusing on ourselves in a totally egocentric level, but also to watch ourselves in wider context of rethinking, while simultaneously co-existing, encouraging more (inter)active involvement and relationships (artists to artists, artists to spectators, spectators to artists), enhancing our own vision, our rational and emotional engagement and compatibility .This is my “utopia”.

Exhibition Culemborg

ECHOES OF THE UNSEEN

When I first visited the Gelderlandfabriek I got immediately inspired by the history that existed behind this building .

Gelderlandfabriek was used as a locomotive shed on the Utrecht-Boxtel
Railway in 1868 and then as a furniture factory and consequently as a family house. Later on, some Dutch organ builders and train mechanics were using the space as their studio and workplace. The factory is currently used as an eventspace for cultural events and exhibitions.

As I was walking for a long time in this empty space, I slowly started to feel and listen to its atmosphere. A mixture of voices and sounds from the past and the present swirled in my mind. How could I give life to this empty space? I wanted to find ways to excavate the remains of life in this resonant lifeworld. I recorded the natural sounds of the space, while I also composed new sounds and music inspired by all the information I managed to gather from the space. I was intrigued to make an audiovisual story inviting the spectator to an experience. I designed a specific route that starts and ends at the same spot,the electricity boxes. As the days went by, and I was continuously walking the same path, I was fascinated by the extent which the space was transformed from all the people that were working there.

Similarly, the ‘’Fabrication’’ exhibition will also be a part of the many changes that happened in the space of de Gelderlandfabriek.

Step 3

This semester I started collecting photos,videos and recordings from lanscapes,ruins,historical spaces and monuments but then relooking all this material I noticed that most of my photos and videos were desolated and empty spaces. As a result,I am currently researching about affective spaces, with my focus being mostly in these desolated spaces.How can you experience these spaces with no people in them? How these spaces “speak” to you? What to you hear and what do you see? I am trying to recall and imagine all these kind of “voices” that exist or not to these spaces through vision,sound and music.Through my collection of photos from these spaces,I am trying to give life to them, telling a narrative. My research question right now is how is it possible to communicate with the audience and how can I transform the spectators to performers or active paticipants, instead of passive viewers.I would like to transfer this audiovisual collective experience to a space using scenographic tools and somehow to approach spectators through my experience to these spaces

"We don't see much difference between time and space. We don't know where one begins and the other stops. So that most of the arts that we think of is being in time and most of the arts we think of is being in space.
Marcel Duchamp for instance, began thinking of music as being not a time art but a space art. And he made a piece called "Sculpture musical", which means different sounds coming from different places, and lasting, producing a sculpture which is sonorous and remains."
John Cage

Inspiration

Step 4

How I want to continue:

Practise based research

How do I tell narrative stories using sound and music?

What are my dramaturgical qualities as a scenographer?

Research title:

Musical and sound narrativity in performance

(the combination of musical and sound composition to tell a story in a performative context)

Key Words:

music,sound,video,unexpected,performance,emotional engangement,social change,atmosphere,experience,performance,communication

How:

Methodology

reading,filming,editing,composing,singing,performing,

thinking,directing,relooking,writing

Through making I will discover my own world of storytelling.

Spaces:

Realistic/Existing space

Imaginary/Mentally space

Indoor

Outdoor

Public

Empty(?)

What I want to develop more:

storytelling

dramaturgy

creating more experiences with the spectator

testing audiences

Experiments that I want to begin with:

Music and Sound storytelling in a room at Pastoe

Visual Dramaturgy

What I wish:

I wish I could find a way to create experiences through music and sound while at the same time the spectator to be able to think and question themselves what they already have in mind.

Scenographic Statement

As a Scenographer, I am narrating stories in space using sound,music and video as my main scenographic tools. I wish to translate my inner thoughts and feelings into music, sound and video in order to create an emotional experience for the spectator.I am searching for ways to present the existing reality in a poetic way in space, somewhere between clearness and abstraction. 

 

Through my work I am trying to transfer the spectator from a realistic existing space to a mentally imaginary space or the opposite.I believe that transformations of space can create experiences that put the spectator into an unexpected path that can lead them into a different way of experiencing the world.I am seeing myself as a scenic voice( https://www.instagram.com/scenic_voice/ ) that wants to be heard,to question,to criticize and to express my observations, in order to create an emotional engagement with the spectators.

 

As a maker, I strongly feel the responsibility to incorporate my desire for social change, in my work. Thus,the topics I often choose in my research have to do with my own personal concerns,questions and beliefs in a wider context, always trying to remain true to myself and to the things that I value as important.

Inspiration

First experiment

Experiment in PT20 ( Black Box)(empty space)

 

Narration through music, sound and video

 

Cicadas lament

How can I narrate a story using words?

 

What

For the 2.0 document, I presented a live performative experience that “touches” the issue of refugee crisis with my focus being mostly in Aegean sea.

Aegean sea is the most frequent route for refugees(from Syria,Iraq,Palestine e.t.c) who leave their countries either by force or by war.For some of them,the sea is the place for a new direction,but for others is the reason why cicadas mourn.

 

How

Using video,music and sound as my scenographic tools I tried to create a live audiovisual documentary performative experience.I wanted to translate my anger and sadness of this tragic situation, into music and sound.The combination of poetic text with the video is a try of narration of my feelings about how I am experiencing sea nowdays. Between careleness and tranquility of the sea, there is always sorrow and anger.The sea was always for me, a place for brainstorming of emotions.

 

Why

In this experiment I wanted to emotionally engaged with the spectators,to explore the boundaries of abstraction and clearness related to narration,what did they experience, what did they feel and how did the scenographic tools work for them.

 


 

Questions: 

-How can I make the spectators think deeper and to question themselves what they already have in mind?

-What do spectators experience the space?

-What is my quality of handwriting as a scenographer?

-How do music,video and sound work as scenographic tools in relation with the narration?

 

How I want to continue:

-Making more experiments and find multiple ways of narration using music,sound,video,text and the body.

-Test audience(questionnaires)

-Reading books,articles,watching films,performances,find artists e.t.c that inspire me and are related with my research

-Writing the outcomes of my experiments,taking notes of the important parts from the books and articles that I am reading

-Taking videos

-Compose music

-Record sounds

-Edit my material

 

Structure of the presentation

(2 min)

Scene 1:

Lights off.Music atmospheric intro (how a cicadas lament could be)

Scene 2:

Video+text playing.Sound of cicadas.Melodic Vocals

Scene 3:

Turn of sound.Video.Silence.Me looking at the video and then the spectators.

 

(2-3 min)

Turn on the lights.

Sharing questionnaires to spectators.

1 min

Video playing with data.Explanation.

1-2 min

Reading statement

END.

Feedback.

Collaborative experiment with Astrid Muijderman

Audio walk at Janskerkhof(public space)

For my perspective:

How music and sound helps the narration to be developed?How can I give tension to the whole story?Can a musical composition  change the emotional perception during a story?

About the audiowalk

We created an indoor an outdoor audiowalk in Janskerkhof making the spectator to observe and to frame things,situations,people.We also wanted to make the spectator of the indoor experience to come closer and interact with the spectator of the outdoor experience even if if a glass of window it is the only thing that seperates them.We tried to create a dialogue with the spectators that makes them observe,answer and think.

The music is an ambient composition that can change a story or can give an atmosphere or a mood to the narration.Music can be also the core element that can connect two people.

 

(indoor experience)            

(outdoor experience)

Outcome of the questionnaires

-Almost the 80% of people they couldn't recognise the theme of the performance because of the abstraction of the narration.

-Each of them invented a different story.

-They liked the clearness(explanation)after the video and the questionnaires.

-They all said that music and sound enhance a certain atmoshere.However the presence of me at the end, looking at them in silence, was the strongest moment for them.

-Some of them they wanted a longer performance.

NOTES TO MYSELF

Abstraction needs clearness

But what happens when clearness comes after abstraction?

What are the voices of the listeners?

-How strong a voice can be?

-How can I activate the inner voices

of the spectators during a perfomative experience?

How can I narrate a story without words?

Collaboration with Cecilia Berghall

and Ariadne Sergoulopoulou(for a theatre space or performance space)

Some words about the project

The performance How To Stay Afloat is an experimental, movement-based performance, that starts as a public intervention. A performance on how we feel that life is out of our hands, as we stand powerless, having to bow to the decisions that the powerful of the world make for us. It often feels like we have been deprived of the right to choose, to form our lives the way we want to. People are almost convinced that There Is No Alternative; from a political slogan, T.I.N.A went to so many different aspects of our lives.

Having grew up so close to the sea and to the element of the water, we realized how much this emotion is similar to the sensation of being underwater. The vague sense that we are experiencing everything from a distance, that life goes by and we are not truly able to grasp it. We see only glimpses with a distorting perspective, hear only echoes and mumbled shouts. For us, this a layered condition, there is this feeling of being powerless, of surrendering to other forces, but there is also a strange comfort in this underwater floating; moving without gravity, in a slow motion, not really participating to a struggle. We want to react to this feeling, to change this condition. Thus, we are shifting from being underwater to being overwater, struggling to stay afloat, where we are much more exposed to the sun that burns our skin, to the sun that blind us, where we are consumed by anxiety, sorrow and anger. But in the same time, we are able to feel the warm of the daylight rippling through the water, and the joy that comes from fighting to stay afloat. That’s why we created a small guide on ways to stay afloat that we introduce in the beginning of our performance. There is a constant shifting, we could say a battle, between these two conditions, these two experiences.

 

Second experiment(indoor space)

-How abstraction works in relation with the narration?

Answering to this question, I collaborated with Silvana Hurtado Dianderas and we created a performative sensory and sonic experience both in outdoor and indoor spaces.

The concept:

We placed objects both in indoor and outdoor spaces with different texture and we hide a bluetooth speaker inside the object or nearby it.

We wanted to test if the spectator would touch the object without instructions.In each touch of them, there was a melodic or sonic renspose that was coming from me playing live.At this point,I was also hidden but I had specific narrow sight either by behind a window (outdoor experience)or from a go pro camera and a videocamera(indoor experience).

The outdoor experience was more like a test for us to see if the spectators are coming closer to an object that they see in the centre of a floor and if they can touch it easily.As a result, as they were getting closer to it, the sound started building up.

However the indoor experience had more informations that helped the spectators to come closer to the objects. Silvana was pointing the object turning slightly on a spot light for making the spectator to move closer to it.There was also a chair that helped them to understand that they had to touch the objects for hearing the sounds.

In the meantime,in the backstage there was a big screen that there was a live video recording of the whole experience,so the backstage spectators could see the whole experience from an other perspective.

We totally set two cameras for having two visual perspectives,the one was a go pro on a belt that the spectator was wearing in his/her chest and the other, was hidden behind the curtains.


Outcome of the experiment

-People that experienced that short experiment felt desolated and imprisoned.

-The curtain worked as a soundmirror for them.

-My appearance at the end was something unexpexted for them.

-They couldn't recognise the topic of the  project because it was a bit abstract for them.

-They felt that I was talking for something personal.

-They felt a bit awkward when I was staring at them from the window.

-They couldn't recognise the spoken voice on the recording because of the loud musical and sound composition.

-How to develop this experiment?

-Hot to present this with a different way making this more clear to spectators?

Outcome

In the outside experience the most of them thought that it was an object with hidden sensors and they were just playing with the movement than the touch.

In contrast,in the indoor experience people touched the objects and it was like they created a whole performance.Some of them they also thought about having any sensors hidden.

For my perspective:

-The people that are interacting with the object could be performers.

-The spectators on the backstage(indoor experience) are part of both performances including me and silvana playing live.

-Music and sound can create a whole narrative even if the narrative doesn't exist.

-Directing unexpected experiences can lead to a performative narrative.

-Instructions or help to the spectators could be also given with the scenographic tools (i.e. music,sound,chairs,lights).

 

The choreography is defined by the transition from the overwater experience to the sinking into the underwater condition.

The first question that came to my mind is how could I create this transition using music and sound.

For my perspective:

-What I tried to do is in this project is to see how the music and sound work with the movement and how I could create a narration without any text or words.

-The music and the sound answers to the movement and the opposite.

-The body is isolated into the sound.

-How do the spectators experience this performance?

-This is something that I need to examine deeper.

(more experiments)

 

Outcome of the experiment

-Some of them they felt emotionally enganged with the whole experience because of the whole atmosphere of the experience(music,sound,lights).

-Others,they couldn't connect themselves and they felt distracted with the existing people in the same space.

-The sounds of the recording composition were  sychronized with the existing space and the people in it.

-A series of unexpected incidents was also sychronized with the composition.

 

Question to myself after outcome and feedback:

How to direct the unexpected using music and sound?

 

 


existing space to imaginary space

"Walls"-Kostantinos Kavafis
 
Without consideration, without pity, without shame
they have built great and high walls around me.

And now I sit here and despair.
I think of nothing else: this fate gnaws at my mind;

for I had many things to do outside.
Ah why did I not pay attention when they were building the walls.

But I never heard any noise or sound of builders.
Imperceptibly they shut me from the outside world.

A poem can have different meanings to the readers,can suggest a lot of ideas.What meaning could you give in that poem in relation with your experience?

The walls are the restrictions imposed on people (social,religious,economic).

People are never free as they would like to be.Every act of ours is socially controlled or filtered by our social,religious and economic beliefs.

Even if we want to change things in a better way our voices are never loud enough.

 

Ιn my experiment, I wanted to create a story of a girl that is trapped in her routine,she feels imprisoned in her own "walls",she feels fear and she trying to escape from this situation.Either society or herself created that kind of "walls".However,she tries to "break" her walls and to communicate with other people.

"We perform in many places today, and places are transformed by the many different events that we perform. We move through many scenographies during the day; we go from one environment to another – from actual to virtual, from private to public, from staged to unstaged, from known to unknown. We perform scenographies and they perform us. Our roles change with these scenographies. Environments conspire and collude to construct scenographies for our actions, and sites, places and locations are subverted, co-opted, occupied, translated and mutated for the needs of our performances. Everything we do and almost everything comprehend scenic formation – landscape, site and setting – but also a way of constructing the physical, perceptual and emotional environment of/for the event."

On scenography:editorial

Sodja Lotker and Richard Gough

What is Scenography for me?

A story to tell in space(s)

My research catalogue is being set in the form of scenographics.

Scenographics according to Rachel Hann's manifesto book Beyond Scenography, is an ongoing process,a number of things that come together.

Therefore,this is how I am seeing my research, as a number of things that are interconnected.

Formulating my artistic research’s system

This semester I experimented with sound and music to create new narratives.

I also used a lot the video as a medium that helps the dramaturgy to be developed.

I created performative experiences in order to translate my inner thoughts and feelings into music,sound and video and to create an emotional experience for the spectator.

In my work, I also tried to incorporate social and political issues because of my desire for social change,and my willingness for raising spectator’s social and political awareness.

Later on ,in an attempt to conceptualize my research and because I was questioning myself about what my research is,I noticed that I am deconstructing the actual meaning of the word narrative.

Therefore,I am developing new methods of building the dramaturgy. Creating and designing atmospheres,I let spectator’s to invent their own stories and to invent their narratives.

These atmospheres could be seen as an aesthetic concept that can give you the freedom to create a narrative.

Aesthetics are around us.The beauty of a place is fragile.The purity of a forest could be “destroyed” by a fire for example. I can see a fire as a metaphor for the wildfires in Australia or Amazon’s rainforest wildfires.

In this point, I formulate the question that I want to work on,this semester:

How social and political issues exist in an aesthetic concept?

Performative presentation about the role of musical and sonic narrativity in performance and the relation of aesthetics and politics

Part 1 

Narratives.

A narrative according to oxford dictionary is: a spoken or written account of connected events; a story.

Deconstructing this meaning,what if a narrative is not a connected series of events,but a given atmosphere, as an aesthetic concept that can give you the freedom to invent a story?What if one or multiple narratives are included in an atmospheric scenographic concept?

What we call aesthetics?I will choose one of the definitions on this word.

Aesthetics is a branch of philosophy that focuses on everyday events, settings and activities in which the faculty of sensibility is saliently at stake.

Infuenced by Margus’s Vihalem article about “Everyday aesthetics and Jacques Ranciere: reconfiguring of the common field of aesthetics and politics”,I arrive at the question: how social and political issues exist in an aesthetic concept? (Pause)

Part 2

Imagine you are walking in a forest,you hear the sound of your steps on the fallen leaves,you hear the sound of the leaves on the trees rustling, the sound of the river as it flows.A peaceful music plays at the background.

Suddenly, a fire breaks out.

How fragile the beauty can be?

What comes in your mind when you see the image of a fire?

Does this fire reminds you of the wildfires in Australia?

Does this fire reminds you of Amazon’s rainforest wildfires?

It reminds me the wildfires in my own country,two summers ago.

You are being transferred from one place to another.

You reached the point where we can meet each other.

Is this a starting point for emotional engagement between us?

Is this a call for social and political awareness?

And what about these looping sounds?

Do they disturb you? What do you feel?

A performative space is always shaped by our listening experience.

Do you know that music and sound can create a whole narrative even if the narrative doesn't exist?

Music and sound create space,make a space feel alive ,transfer you from a physical space to an imaginary one, create atmospheres ,communicate the materiality of things ,translate your inner thoughts and feelings into space .

Above all, they give you space to invent your own stories.

Where are YOU now?

Description of performance:

Set:There was a black desk in the centre of a small black box.There were some branches with leaves,some wood and a vase with some water in it.

 

Lights on the desk.

I started looping and recording sounds of nature using wood,leaves and water.

Then I projected a video with some footage from a forest,with my apperance walking through it,while I was reading the first part of the text(read text part 1).

Aftewards,A pre-recorded voice text(read part 2) started playing with an ambient electronic music, that I composed as a background.At the same time I started building up the nature sounds again but in more intense level.When the phrase "suddenly a fire broke up" is being heared I burnt a paper so to create the atmoshere of a fire.The whole piece continues in that way until reaches the highest point.

The performance ends.