This is the first time that I actually decide to post something more concrete about my ideas and far as the final project is concerned. Honestly, I always been kind of worryed about exposing myself too much about it. Anyway, I think that now the time has come, together with the necessity to get some feedback, in order to work the best as I can and get the best out of my work as well.
Given that this term we have to propose a solo project besides the group one, I decided that I might use this opportunity to start setting up and testing some devices and modalities I intend to use for the final performance.
Tools and devices: human body, sounds (music and recorded voice), projections.
What I would like to do is bringing the incorporality of sounds and projections at the same level of importance of the corporeal human body.
Therefore, my work will be oriented in the interaction between presence (the human body) and absence (projection and sounds), bringing the latter at the same level of importance -if not the leading element- of the former.
For example, there will be some moments in which the non-corporeal presence shall inteact and have concrete effects on the corporeal presence (the real performers), otherwise it can happen that the projection might work as the representation of a parallel situation or as the projection of the non-corporeal part of the human being (thoughts vs. action).
HOW?
To start, I thought about three situation tat might be interesting to try to work on. Here they are, for the moment, I found convenient labelling them with names to underline the concept underneath.
1. The alternative:
The situation projected is the same acted by the real performers in the space. In the projection there will be the same persons who actually perform, dressed in the same way and living the same situation but with some differences that may occur in the consequences, in the outcomes, or simply in the rithm.
2. The inversion:
Situation in which the real performer would become a projection of the intention and actions belonging to the performer projected (who actually does not exist in the "here and now" reality). Again, it will be the same performer that is going to be projected as well, creating the effect of a double. The live movements will therefore need to be coordinated with the movent in the projection, as a puppeteer with his puppet.
3. Thoughts and reactions
This is a concept I've already worked on before and I am interested in developing it further. I want to focus on the facial expressions that come out naturally when a person thinks. They are little, sometimes just perceivable, but they are reflections of inner reactions. Better, they are actual corporeal reactions -effects- to a non corporeal cause: thinking. They are thoughts that pass through nerves and flesh.
My intention is to concentrate the attention on a face that reacts to thoughts. Those thoughts might be heard by the audience by an over-recorded voice. I still don't know if this face should be projected (and zoomed in) or I should keep a live performer for it. Or maybe both.
Further development are coming soon.
