Reshaping
I have been considering my previous thesis research that I conducted in the fall–Laterna Magika’s Philosophy and Approach to Theatre: Disciplines in Multimedia Performance–and the ways in which I could uphold many of the artistic techniques and values in my film. Or rather, explore the potential possibilities of a particular method and see what works and what would be a challenge. As scenography is an element in theatre, it could remain true for film. In a sense, this would be the mise-en-scène.
In my textual research, I have a fair amount of material regarding Laterna Magika’s renowned artistic director and scenographer, Josef Svoboda. I recognized how Laterna Magika’s theatrical synthesis of projected images and synchronized acting, dancing, and staging allowed an impression of space which could be enlarged in many ways. I am exploring the ways in which I could potentially create an impression of the space of the camera frame and how it could be enlarged.
I aspire to design a version of my own ideal theatre space that could potentially function as a technical proof ground for my film. If I were to be performing on the Hallie stage, I would be keen on discovering how the use of projections creates the potential in generating a new stage space and the dialogues that will emerge between the projected image and live performer. But projection through a camera lens can often be tricky and overwhelming so I thought of using another device: a mirror. The mirror is not to be placed as a substitute for decor or establishing say, a locale. There is a potential for attempting to compose an individual, separate, and distinctive visual perception into a new total image that is according to a theme. In other words, to convey a given particular intention by a composition of images, their inter-relationships, their temporal and spatial rhythms within a technical proof ground. This way of understanding the technical and experimental requires one to think about more than one means of expression. To create something that evolves, that has movement, not necessarily physical movement, but a space that is dynamic, capable of expressing changing relationships, feelings, moods, perhaps by lighting, during the course of the action in a performance.
This “technical proof ground” will be the space that I have been cultivating all of my creative and choreographic ideas for the past year: my dining room floor and outdoor lanai.
Tals,
Thank you for sharing this draft! I was so interested by your use of outline and the transition from you being fully in shadow to being lit and almost part of the picture image created by the skyline really caught my eye. Your use of depth perception and the setup you explored here feels like it has a lot to give for you to play with. I love not knowing where we’re looking – through a door, window, a photoshopped still image or backdrop or a mirror – it feels really exciting. During the section where you filmed during sunset (?) I loved being able to catch your shadow against the wall. It was like a surprise reveal that we didn’t see coming because of this unknowingness of where we are viewing from and I wonder how you could build that in maybe an even more intentional way. I loved the ladder just appearing and how you climb up and someone immediately walks by – it leaves a big like whaat! question happening. Beautiful work so far and can’t wait to see more 🙂
Talia! This is so cool! I got such a clear sense of the environment and the space you’re working with in such a unique way! I especially enjoyed seeing the slow changing of the sky and the city skyline in relation to time; it felt like your dancing was something consistent and the world was what moved around you.
We’ve been talking a lot about the focus point versus the background in the movement ecology class that Angie and Chris are teaching, and this film brought up a lot of those topics for me. Is your consistency the focus, or is it the backdrop? Do you change over time or are you making a statement about a lack of change?
I also think this project has a strong sense of tone as well as a strong sense of place. I see wild movement that’s being done with a lot of control, I see a lot of specificity and heaviness. It feels like there’s something you’re waiting for, a restless impatience that’s emphasized by the coffee clips in the beginning of the video. What are you waiting for? What’s the resolution? You have so many cool ideas at play here and I can’t wait to see more! Missing you here in Northampton!
This was fascinating! There were so many different things that wandered in my mind. The scene changes allowed us to experience, like, different modes of Talia, between the changes in hair, glasses on and off and the movement that corresponded with each look. I did not know whether the skyline was actually there or edited in but it became clearer when the color rose up. I also thought you were just utilizing the doorway space for movement and expression, which you were, but then I realized you were filming that activity through the reflection of a mirror?? This became clear over time when the sunset and the use of shadow was prevalent, super trippy. Loved the ladder and how it added another layer of things Talia could do in this space. In the opening scene I am interested in seeing how one of those fast paced clips can just be a still frame over time and then return to the fast paced beating of the clips. Lovely lovely, very excited to see more!