Project blog: http://trackingshottheperformance.blogspot.com/

Although the opening night for Tracking Shot was over a month ago, I’m still assimilating everything that I learned and experienced on my European placement project in Polverigi, Italy. I was a pleasure working on this project first as Writer and then as Assistant Director and Stage Manager. Being a part of such a diverse team, adapting to a new working environment and meeting day-to-day challenges meant that I’ve been able to explore my own strengths and weaknesses, learning new aspects of building narrative structures while revising old ways of working.

A detailed documentation of our process and production can be found on our project blog but I’m going to use this space to briefly outline our idea and process.

Tracking Shot was devised as a completely original piece of visual theatre by a team of 12 students from our MA programme under the guidance of director Pete Brooks. We approached the project from two different directions of Dramaturgy and Design, me being one of four people devising the dramaturgical structure and text for the performance. From the outset we were interested in an experiment. We wanted to create a kind of “cinematic” theatre: a live performance that could interpret the experience and the language of film for the stage, a idea that rapidly took shape for us once we were given access to an extraordinarily large, empty performance space by Inteatro.

Story and Narrative

At the crux of it, Tracking Shot is a filmic journey through the life and on-screen career of an ageing Italian actress Monica. She is ill and dying but she comes to Roberto – a director she once worked with – with a request for him to re-edit the end scene of a film they made together 30 years earlier. The lead actor playing opposite her in the film was the only man she ever loved off-screen but before she could tell him how she felt, he died. She wants to change the end of the last film they made together because in doing so she hopes to find resolution or redemption in some way. It is a pointless gesture to re-edit the film, but a poignant and meaningful one all the same.

the crux of the matter

time, film and audience

In performance, the audience of 6 travels through a series of film scenes that Monica has acted in over the span of her career. She tells us the story of her life in snippets of filmic dialogue, between voiceovers and in the film itself that she wants to change. A wagon containing the audience and the “point-of-view” as it were, physically moves forwards, backwards and pans left and right in the simulation of a camera frame. The soundtrack and music are delivered to the audience via individual headphones located in their seats providing a sealed, hermetic sensory expereince.The “scenes” meanwhile assemble and disintegrate in the empty space around the wagon allowing the viewing frame of the wagon to montage them together.

"Tracking" the shot

possible wagon movements

simulation of the audience's view

We interpreted the character of Monica as that of the ultimate actress of Eropean cinema. She takes us through the 20th century, reflecting the changing attitudes and concerns of film, the shifting political landscape of the times she lived in, and the intellectual dissociation that came with it. To us she is Bergaman’s Liv Ulman, Godard’s Jean Seberg, Monica Vitti, Anna Karenina and Anita Ekberg all rolled into one. She thinks of herself in terms of the characters she has played, having lived through each of them one at a time. The gap between fiction and reality is an imperceptible one. Which is the original and which is the simulation we wonder.

Production Still: Trevi fountain scene by Olesya Borisova

Production Still: Cornfield scene by Zsofia Kocsmárszki

Tracking Shot was first performed in Italian at the Teatro della Luna in Polverigi in 18 performances between May 14 and 18, 2010. To know more about the performance, please do visit the project blog.

The following video is uncut and in Italian. I hope to post a sub-titled version in the coming weeks, but till then, here it is:

All images (C) Ruchita Madhok, 2010. All rights reserved

On of my personal favourite poems by Collins is Sweet Talk in which he compares his lover to the Mona Lisa, Boticelli’s Venus, a painting by Delacroix and finally a work by Edward Hopper. You can see the video edited to a reading by Collins himself here.

I wasn’t familiar with Edward Hopper’s work when I read this poem but in retrospect, I really think I ought to have been. Edward Hopper is one of those artists every scenographer should study in order to understand lighting, colour and architectural composition. He was a master painter of sunlight and is known most famously to have said:

“All I ever wanted to do was paint sunlight on the side of a house”

A few days I ago I was fortunate enough to visit a comprehensive exhibition of the American painter’s work in Rome at the Fondazione Roma. Curated by Carter Foster of the Whitney Museum, the exhibition brings together sketches, prints, oils and watercolours spanning Hopper’s output as a student, illustrator and painter. The real treat on display is a digital reproduction of one of his artistic “ledgers” that documents his paintings in sketches and notes.

The prologue to the exhibition consists of a scenographic reproduction of his 1942 Nighthawks in which the visitor is invited to walk into a mock diner filled with Hopper’s subjects and photograph oneself in its environs. One is invited to “become part of the painting” and experience oneself inside the three-dimensional world  of Hopper’s two-dimensional representation – something rather like walking into  Rembrandt’s Nightwatch and taking position in the scene.

Nighthawks, 1942

Second Story Sun, 1960

Morning Sun, 1952

The exhibition then follows in a chronological fashion, taking us through his work as student and then as a professional illustrator. His Paris paintings follow,  displayed against a shaded backdrop that imitates the sky, recreating an atmospheric experience of his work.

Some paintings are preceded by Hopper’s sketches and colour studies. Seen together they provide an insight into the painter’s methodical and almost scientific process as one reflects on his colour scheme and lighting plan. Other rooms contain black and white etchings that evidence Hopper’s mastery of contrast and tonal variations, capturing sunlight in black ink and white paper.

Although the exhibition is comprehensive in its content, I found myself wishing that it had been hosted in a more suitable location. In certain spots one had to walk from one room to the next through narrow 4 foot wide corridors and navigate through the exhibition in an unnecessarily enforced order dictated by the Italian guard that simply would not let you pass from one room to the adjacent one without walking through 2 other rooms first. The rooms were small and in some cases when I would have liked to stand a good distance away from the work in order to appreciate it, there was just no space to manoeuvre.

View of one of the galleries

The exhibition claims to be the largest assembling of Edward Hopper’s work in Italy and I do encourage you to catch it either in Rome or in Lausanne where it will be on display next.

You can visit the exhibition’s website here and find out more about Hopper and his Times in an interesting multi-media segment of the site here

(All images are from the exhibition’s website)

I don’t see what you mean. I don’t know where you’re going with this.

You never know the way. That’s exactly what I’m saying. No one ever does. He, she, you, me, we don’t know. We won’t know. And when we do, do you think we’ll turn back? No. We’ll keep going until we reach the end. An end we can’t see. It seems pointless doesn’t it? Endless? We’ll eventually get tired you know. Not tired of walking. Just tired; maybe of each other; maybe of not knowing. Maybe not knowing means something. Maybe it means that we’re not ready

Not ready for what?

Not ready for knowing. Not ready for not knowing. Who knows what we’re not ready for. Do you reckon there’s something to look forward to? Is it possible to look forward to something you’ve never known? Is it possible to leave here and now and leave for something then and there and unknown? It’s five o’clock. I wonder what time we can leave. Can we leave immediately do you think?

We can leave whenever you want

Good ‘cause I can’t wait to start. Tomorrow’s going to be a long day and I want to get there as soon as we can.

Notes Anupama, the author of the article:

Telling tales may be labelled as a dinosaur in today’s high-tech and sensationally visual world of movies, television shows and Internet videos. But a new crop of performers is flavouring this lost art form with relevance and stamping it with commercial viability through strong DVD sales and spiking demand from schools and corporates as a catalyst for creativity.

I recommend it to anyone interested in oral story-telling and contemporary performance in India.

To read the full article on the LiveMint website click here.

We’ve been debating the nature of stories, narratives and memories as we devise the piece. In the meanwhile, these are some notes from the process so far. More on the project as our ideas develop:

Living near Southwark station makes my Tube journeys even better. The Jubilee line in particular has sponsored a number of art projects over the years, the latest of which has been done by artist Dryden Goodwin. In February, there came up all along the perimeter wall of Southwark station, a grid-work of portraits of Jubilee line staff. The accompanying poster informed me that the Transport for London website had more information on them. After much procrastinating, I finally made it to the TfL website last week and was happily surprised to find that I was already familiar with the artist’s work.

For this project titled “Linear” the artist Dryden Goodwin made pencil portraits of 60 members of the Jubilee line staff, capturing videos of each portrait in process and recording his conversation with the subject while he was making them. The website created for the project has time-lapse videos of every one of these 60 portraits overlaid with an excerpt from the dialogue.

A video still from one of the films taken from the TfL website. All (C) Dryden Goodwin, 2010

The resulting collection of videos is an intimate, intricate and detailed essay on the diversity of the team, providing us with glimpses into each person’s life. Many of the portraits seemed to have been made while the subject was on duty in their cabin, or on the platform. One minute their monologue and response to Goodwin’s questions is directed towards him, another moment their mind switches back to the call of duty as they answer a walkie-talkie call or take a phone inquiry. One hears these very real people tell the story of how they came to work on the Underground, what they enjoy about they jobs, the numbers and statistics they have to keep an eye on – even what they like to do when they get home after the day at work. Watching the videos gives one an immediate sense of the secret working of an Underground line: a simultaneously complex and seamless process that involves so many individuals and runs on the strength of a single team.

The result of Goodwin’s interaction with each staff member is not just the drawing he presents us with, but the video and audio documentation of the process as well. We never hear each conversation in entirety, nor do we see the person’s face whose picture is being drawn, and in that sense each portrait seems incomplete with just enough room to imagine the person themselves. One constructs each person individually and is drawn into each story in a unique and intimate kind of way. This combination of drawing, video and audio captures personalities and emotional encounters in a way just video or photography might not have and therein I think, lies the sensitivity shown to each subject.

I spent hours on the project website and recommend the stories born from Linear to everyone interested in oral histories, drawing, the Underground in particular and trains in general.

Find out more about the project at the TfL website here

As TfL recommends, you can “unlock the video story behind each portrait” here

The thought was to create a small piece of dramatic scenography contained within a book. The performance consists of opening the book when instigated by a four-line verse which tells the story of a man who takes a walk amongst it pages.

This is the verse followed by images from his journey:

He walked in, to the trees

over the undulating crease

of a landscape lit with time

fading on a sinking golden line

…

…

All images and text are copyright Ruchita Madhok, 2010. All rights reserved.

If you wish to reproduce these images for any purpose, including research, please request permission at contact[at]ruchitamadhok[dot]com

When: presented October 12, 2009

Where: CSM, Back Hill

Who: Aimi Gdula, Adele Han Li, Martin Schanbl, Rannva Karadottir, Ruchita Madhok

Brief: To research and study the river Thames. To then use the dramaturgy of the river in a time-based work or proposal

Our aims: To bring the river back into the consciousness of London; to provide a platform for people to rediscover their relationship with the river and to emphasize the Thames as the birthplace of London.

Our idea: To construct 4 cubic ice spaces from frozen Thames water that literally bring the river into the streets of the city.

These cubes would effectively block the traffic at Parliament Square and on the Oxford, Piccadilly and Holborn Circuses since each would be 15m x15m x 15m, with an opening on one side and open from above.

Cameras in sets of fours will be installed on four different boats which will be running for 24hrs a day. Live footage of from these cameras would be projected onto the walls of each of these cubes. The public would be able to physically enter these womb-like spaces that would muffle the sounds of the city and create a quiet, contemplative environment inside the ice. The installation would be open 24hours a day with projections running all day and all night varying with the boats’ routes along the river.

Locations for the ice cubes

one of the cubes at Oxford Circus

Scale and dimensions of the ice cubes

daytime view at Oxford Circus

night time view at Oxford Circus

projections would last all through the day and night

We hope that through this series of installations, the viewers are confronted with a direct experience of the Thames. We propose that the ice cubes remain on display until the ice has melted down and thus a cycle is created as the water brought out of the Thames flows back into it. As the ice melts, the city will emerge over the edges of the cube, the river flowing away.

In retrospect, I think our tutors were right in describing this as a radical idea. The idea of blocking traffic in central London and freezing 15m high blocks of Thames water sounds outlandish, but given that we had no real constraints to deal with, we decided to take the idea to the extreme. We spent a good deal of time deliberating, discussing and deciding to reach this concept. When we did, we were all unanimously convinced of it, and I think that’s why we enjoyed the process so much. We took a simple idea that everyone agreed on, worked it out a little and – since there was no budget to consider – we thought big and dreamt bigger. This is why I enjoy being a student: thinking out of the box and challenging oneself come with no strings attached!

Now I wish we could actually build this!

(All material contained herewith including images and concept are copyright of the authors of this project as mentioned above. All rights reserved)

Where: Conway Hall, Red Lion Square, London

Event Link

“Caring is sharing”, people! I’ve said it before, and I’ll say it again. My truly awesome day at The Story event is courtesy Aditya Pawar who, sitting in the Netherlands, read this blog last week and sent over the link to the event. As luck would have it (and destiny, and karma and all that universal energy), I grabbed the last ticket to the day’s event which was described on the website as such:

“The Story will be a celebration of everything that is wonderful, inspiring and awesome about stories, in whatever medium possible. We’re hoping to have stories that are written, spoken, played, described, enacted, whispered, projected, orchestrated, performed, printed – whatever form stories come in, we hope to have them here

[...] There have never been so many stories, never so many ways to tell them. The Story will be a celebration of just a small sample of them.”

HOW could I not HAVE to go?

***

Given Matt Locke’s descriptions of his hopes and dreams for this event, I knew right away this was not going to be a conference. Or a seminar. Or a roomful of academicians (althought the distinct lack of participants in my age group became a distinct concern about 4 minutes into the morning). The event was about stories. So I expected to hear some stories told, some dissected, some performed and some evaluated. I was eager to hear Tim Etchells talk, and also Sydney Padua. I was curious about some of the speakers and entirely clueless about the rest. At 10am the day was just beginning and amidst some lous cheering, hooting and clapping, I knew it was going to be a fun day if nothing else.

Excerpt from the event newspaper

The day started with sci-fi writer Cory Doctorow reading aloud an excerpt from his The Story So Far…and beyond. His intriguing piece of fiction was followed by Dr Aleks Krotoski taking us through a slide-show of her behind-the-scenes story of BBC 2′s documentary The Virtual Revolution. I know that we were talking about the worldwideweb but at some point I lost the point of the presentation and instead was overcome with envy at the places this lady travelled to make the four-part series. Her story of a story was interesting though. A documentary of a documentary if you will.

Next up was Jon Spooner of Unlimited Theatre. I like the way he described what he does as “telling stories of science” and he definitely inspired the geek in me with his brilliant and witty performance that explained the co-relationship between neutrinos and coincidence. I didn’t even realise when he left “presentation-giving” mode and entered into “performance” mode but he had us all in giggles and chuckles at the end of it.

Jon Spooner on neutrino impact

Up next was the man I’d been waiting to hear: Tim Etchells of Forced Entertainment. Now I’ve been seeing a lot of Forced Entertainment’s work in lectures and they’re quite highly regarded in theatre circles for pushing the boundaries of text vis-a-vis performance and staging. Tim Etchells himself is a well known writer and as I’m discovering, has some intriguing ideas about the theatricality and theatre itself. I thought we’d hear something on the subject from him, but since the ground rule for the day was “no theory”, I shouldn’t have been surprised when he read out 3 short stories instead. His toneless voice just read and read and read, matching his story perfectly. If it hadn’t been for his voice, I don’t think I’d have been able to pay attention to his messy narratives of highway diners, Hollywood celebrities and urban decay, but I just floated away into his dystopic fantasies.

Post the black-coffee induced caffeine-kick break, Sydney Padua came on stage to talk about how she puts together her hugely popular online comic called Lovelace and Babbage. She defied the “no-theory” motto for the day, but I’m still a fan of her work. Check out the comic online. You’ll know why I wanted to hear her speak.

Sydney Padua

Just before lunch we had a presentation from Annette Mees and Tasoos Stevens about A Small Town Anywhere. They’re a part of a group called Coney and I’m definitely interested in knowing more about this project. Sounds like a fantastic piece of community created theatre which they call “adventure-making”.

Still buzzing from their presentation, I headed out for a quick wrap and chocolate croissant lunch in Red Lion Square. It was so coooold in the park that I jumped from bench to bench looking for maximum sunlight. Brrrrr! Back to the warmth of Conway Hall!

Lunch Doodle

Chocolate.

Did someone mention “chocolate”? The afternoon session opened with chocolate, m&m packets, creme eggs and apples being thrown into the audience and everyone was scrambling for the goodies. Wicked way to get everyone to sit up straight and be awake, I think. No one dozed off after the sugar-rush that followed.

Did someone say we were at a “conference”?

Alexis Kennedy was up next to talk about Fail Better Games’ Echo Bazaar – a wildly popular Twitter- based browser game set in Fallen London from a hundred years ago. I have never played it, but apparenly many of the audience members have and everyone nodded appreciately as his presentation explained casual narrative structures and interspersed bits of wisdom ( “People like stories where bad things happen to them”) with super serious advice (“Make up cool sounding names for stuff”). Tim Wright followed with a reading of a gag he played on his friend had us in spilts as we followed his devious trail through Harrison Fraud. Excellent, wicked stuff this!

Sam Connif of Livity inspired us all with his story of Jody McIntyre a south London youngster with cerebral palsy who has, despite the challenges, travelled the world, fought for peace and now lives in Palestine writing, blogging, bringing awareness and dreaming of being an MC. Jody is one inspiring dude. Read his blog here Life on Wheels here.

The last two speakers involved performances by Stuart Nolan and David Hepworth. While Stuart talked about the depth of character and how it is influenced by the choices one makes, David’s performance was a good old fashioned, wholesome, juicy bit of storytelling. His coming of age story about legacies, fathers, sons and sartorial pursuits was such a good finish to the day!

I left Conway Hall that evening with a warm fuzzy feeling that only a well told story can give. I don’t know where I’ll be next year and if The Story will indeed become an annual event, but I’m looking forward to more such storytelling, storyhearing, storyperforming adventures in London. This city just get better and better every day!

(Wondering what on earth a poetry slam is and who the heck does it? Dizraeli was winner of the BBC competition in 2007 and is known for his distinctive style with his words.  Read about the competition and the history of slams at the BBC site here)

One fine day, I insisted that stillwater accompany me and a friend to a performance poetry evening in SoHo. A couple of days later she sends me a link to a symposium at the Tate Modern called Speaking Out. It’s on a Saturday, they have student concessions, so a couple of clicks later I’m signed up for it.

I thought I was going to a symposium about poetry slams.

About 5 minutes into the symposium, I realise that I’m in for a completely different kind of ride!

***

When: February 06, 2010

Where: Tate Modern

Event Link

Speaking Out: The spoken word in artistic practice was a symposium was organised by Creative Research into Sound Arts Practice (CRiSAP) run by the London College of Communication (LCC) together with the Tate. The programme for the day involved “talks” by 10 artists each of whom uses the spoken word as an element of their artistic practice.

Except that most artists didn’t talk: they performed. They showed us recordings of performances they had conceived. And then, afterwards (but not always) gave us a litle explanation of how they used or were motivated by spoken words, verbal utterances and human sound. Some of the pieces played about with language. Some were entirely non-verbal. Some juxtaposed language, sound and image in most unexpected ways. All of them pushed the boundaries and notions of what it means to speak out aloud. There was no academic analysis of the performances: just pure art straight from the artist’s themselves. And all their work really did speak for itself!

Some of the artists whose work I particularly admired that day were the following: Tomomi Adachi, Caroline Bergvall, Nye Perry, Trevor Wishart, Imogen Stidworthy, Brandon LaBelle and Inua ‘phaze’ Elams (one of my favourite slammers). Each artist had a uniquely different perspective on the spoken word and each performance was a pleasure to watch. A truly exciting, fresh, mind-opening, horizon-broadening kind of day.

***

I’ve never thought about sound art. In fact, before this day, I hadn’t even considered that something called ‘sound art’ exists. I have always tended to think of art as something visual or tactile, but I’ve never thought of a single spoken word as an artistic work. I play with words myself: on paper and on-screen. I play with typography and calligraphy and poetry, but think I’ve taken the spoken language for granted. Yes, I’ve always thought of oral storytelling and acting as ‘artistic’, but then those are rather conventional uses of language aren’t they? One has to ask oneself why a piece of poetry spoken aloud can’t be art. Can it be performance art? Can it be just art? Are performance and art separable in certain instances? When does utterance become ‘art’?

London is driving me to ask many, many questions. Too many questions. About the nature of something I thought I was already pretty open-minded about: Art.

***

Here are some of my sketches and notes from the day of the symposium:

Opening comments by Cathy Lane

Tomomi Adachi's performances

Lunch: Table for 1

Panel Discussion: 1

Panel Discussion: 2

Panel Discussion: 3