So, actually today I started by thinking technical stuff. As I said I needed to figure out how the photo would hang and still make noise. So my first idea was to put a rope and some hangers
and just hang the photo from there.
Once I did that, I realized that the rope was sitting too low, and that it looked a bit cheap. So I thought that if it looks cheap, it's better if you do it a bit more so that it looks more like a choice than the only possibility. So I put three rows of ropes and here is the result.
Although I quite liked it, there were two problems:
and just hang the photo from there.
Once I did that, I realized that the rope was sitting too low, and that it looked a bit cheap. So I thought that if it looks cheap, it's better if you do it a bit more so that it looks more like a choice than the only possibility. So I put three rows of ropes and here is the result.
Although I quite liked it, there were two problems:- The tape on the wall made it look cheap and unstable, after some time the rope would just drop in the middle because of the weight of the photos. I manage to solve this, by putting some foamy little stickers on the wall and locking the rope was easier so that it can't slip away. But if I had more money, I would prefer to have a metallic chord (like a silver one) and instead of sticker use something like nails or better you know like a mettalic bar that could be used for hanging one coat. Like a single thingy only. Nickel.
- Nice construction. But do you use it? No... so why have it if you don't use this whole thing. I realized that if I liked such a construction (which I wasn't really sure), I needed to take advantage of it. Not just let it hang. I did not have time until Wednesday. Therefore, this case was out of question.
When I was in these shops in Deptford of one pound, I discovered these metallic corners that they use to put under a shelf to support it. They only had a cheesy golden one. So I bought that for one pound, I discovered the height I needed to put it, I glued a sticker on the wall and voila... My little sound device was ready to be used.
Rehearsing the new text
So today I took the decision to go further with this new text as I had discovered it on Sunday. What I did though is to define what the spaces mean to me and set a specific rule for each space. So on the desk I give the following information: date, place, photographer. On the place where the red tag is supposed to be, I give a description but in the style of a caption or the caption. If needed, I turn to the photo and give some part of the theory behind it.
This is the rule, but I try to play with it as much as possible. Especially in the second part where I am questioning the unholiness of the tags, I am playing more and more with this rule.
Now what I needed to do is to cut the theory as much as possible and let the juxtaposition of photos to speak for themselves.
A small feedback I got from Martin is that even when commenting, I should try to keep myself as neutral as possible. Like an example is when I say: "it proved harder for Americans to duplicate Thatchers controls on the recording of the own foreign adventures" . "Foreign adventures" sounds too ironic. I could make it less. Or when I say the part of Margaret Thatcher during Falklands, I don't have to show that I have a great gossip that noone knows. more neutral (not that it was bad, but it can make the piece more dubious).
He also said that this new style of lecture, has opened up space for the audience to work alongside. He found that he can clearly see the research behind it and he is engaged much more with the idea.
What I also want to do it to keep myself (ofcourse more neutral) and a little bit more robotic, in a sense, here this, there that, keep it short, clean brief, strong, articulate. Not a lot of movement.
Especially for the second part, where a bit more of theory comes in, I got some feedback from Aaron that I should only say the text in my own words. When I use Susan's words, I don't come to the audience as a knowledgeable person, but I show an insecurity. I don't touch them.
Aaron also told me that when I am saying the theory the voice is coming from the chest and the head instead of the belly. It proves insecure. I should try to keep it low within me.
Processing that feedback, I think that I should really try to speak to the audience. MY INTENTION (and here is where Fabio also comes in) is to to pass something to the audience. I am not just reciting. I want to make a conversation, a communication, be sure that you get what I say.
Moreover, I should also not perform the fact that I am thinking. NO, I know what I am talking about.
Here is the last last part of the lecture (end of second part). After 8 hours of rehearsals, here I am. TOO tired, but I think it sorts of starts working now.
What do you think?
Of course more rehearsals.
Warming Up
Althought the piece is not a dance piece, it is quite demanding physically speaking. Because being able to scream so loud needs to have the breath and center well warmed up. Not only that, but performing 40 mins without a break needs a lot of strength and relaxation. After a while you start losing your energy and falling asleep (the room doesnt help a lot because there is no oxygen). Therefore I have decided to have a small of a "wakeup" warmup everytime before each rehearsal.
Tomorrow is technical rehearsal
So tomorrow for the technical rehearsal, I should have the space ready with beamers.
Oh my god....
Today
Rehearsing the new text
So today I took the decision to go further with this new text as I had discovered it on Sunday. What I did though is to define what the spaces mean to me and set a specific rule for each space. So on the desk I give the following information: date, place, photographer. On the place where the red tag is supposed to be, I give a description but in the style of a caption or the caption. If needed, I turn to the photo and give some part of the theory behind it.
This is the rule, but I try to play with it as much as possible. Especially in the second part where I am questioning the unholiness of the tags, I am playing more and more with this rule.
Now what I needed to do is to cut the theory as much as possible and let the juxtaposition of photos to speak for themselves.
A small feedback I got from Martin is that even when commenting, I should try to keep myself as neutral as possible. Like an example is when I say: "it proved harder for Americans to duplicate Thatchers controls on the recording of the own foreign adventures" . "Foreign adventures" sounds too ironic. I could make it less. Or when I say the part of Margaret Thatcher during Falklands, I don't have to show that I have a great gossip that noone knows. more neutral (not that it was bad, but it can make the piece more dubious).
He also said that this new style of lecture, has opened up space for the audience to work alongside. He found that he can clearly see the research behind it and he is engaged much more with the idea.
What I also want to do it to keep myself (ofcourse more neutral) and a little bit more robotic, in a sense, here this, there that, keep it short, clean brief, strong, articulate. Not a lot of movement.
Especially for the second part, where a bit more of theory comes in, I got some feedback from Aaron that I should only say the text in my own words. When I use Susan's words, I don't come to the audience as a knowledgeable person, but I show an insecurity. I don't touch them.
Aaron also told me that when I am saying the theory the voice is coming from the chest and the head instead of the belly. It proves insecure. I should try to keep it low within me.
Processing that feedback, I think that I should really try to speak to the audience. MY INTENTION (and here is where Fabio also comes in) is to to pass something to the audience. I am not just reciting. I want to make a conversation, a communication, be sure that you get what I say.
Moreover, I should also not perform the fact that I am thinking. NO, I know what I am talking about.
Here is the last last part of the lecture (end of second part). After 8 hours of rehearsals, here I am. TOO tired, but I think it sorts of starts working now.
What do you think?
Of course more rehearsals.
Althought the piece is not a dance piece, it is quite demanding physically speaking. Because being able to scream so loud needs to have the breath and center well warmed up. Not only that, but performing 40 mins without a break needs a lot of strength and relaxation. After a while you start losing your energy and falling asleep (the room doesnt help a lot because there is no oxygen). Therefore I have decided to have a small of a "wakeup" warmup everytime before each rehearsal.
Tomorrow is technical rehearsal
So tomorrow for the technical rehearsal, I should have the space ready with beamers.
- I should give to the technician the DVD with the video that needs to be played on the PLASMA screens
- I should try out maybe some very basic lighting. I am not sure if I need it. I need to try out.
- I should put black clothe on the window and door.
- I should ask for the cables of the projector and cameras to go back of the audience so that the only cables available are the ones on stage. No cables separating the space between audience/performer.
- I should print out the photos that I dont have and need.
- I should make a DVD of the playmobils video.
- If I use light, I need to give specific cues to the technician.
- After the technician is gone, I should work out 3-4 times the text. Once I feel secure enough,
- I should try and have 2-3 total run throughs. To get used to the exhaustion of the piece. No break should be allowed, even if a mistake happens. What do you do when a mistake happens? How do you treat it?
Oh my god....
Today
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