R&D Second period:
The second period of research was conducted over two full days in the Framework Space of the Bike Shed Theatre, Exeter, Devon, UK.
We constructed images which either juxtaposed with, or supported, the text. It is Live Art, so the construction of image is very important to the work.
The 'confessionals', as we are calling them, are us improvising speaking our truths about connection and disconnections . Sometimes they are in fact truths that we have stollen off each other, or a retelling of stories that we have heard elsewhere. That is theatre - an artifice which aims at a deeper truth.
The use of mirrors helps give a feeling of self reflection - we are talking to ourselves at times.
We constructed images which either juxtaposed with, or supported, the text. It is Live Art, so the construction of image is very important to the work.
The 'confessionals', as we are calling them, are us improvising speaking our truths about connection and disconnections . Sometimes they are in fact truths that we have stollen off each other, or a retelling of stories that we have heard elsewhere. That is theatre - an artifice which aims at a deeper truth.
The use of mirrors helps give a feeling of self reflection - we are talking to ourselves at times.
Day One
We have an individual relationship to images seen in a mirror. We began to approach this theme by playfully moving and reacting to our own distorted reflections in a 1m x 1,60m plexiglas mirror. Reminiscent of a hall of mirrors.
We worked on mirroring eachother's gestures, sounds and movements and went on to explore if we can sense the gestures and postures without seeing them and just through hearing sounds or speech informed by the postures and vice versa.
Our first 'confessional' improvisation. We are working with the idea that confessing to yourself about your experience of consciousness is also like looking into a mirror. We sought a way to learn about each other as colleagues in the work process and new ways of approaching or discovering narratives for performance.
Howard spans an emotional political bridge between his inner strivings and the cogs of the seemingly self-perpetuating social system.
Speaking into a curved mirror. The distortion supports the conversation and creates chimera like images.
Day Two
We were working with the idea of 'spooky action at a distance' using makeshift masks which have simple smiling or sad face on opposing sides and a mairror on another side.