Nightswimming – Schedule – In process Kathryn Ricketts & Ellen Moffat Look at formulation of questions, highlighted below. Revise this to match structure of one page schedule, which is very clear, and duration of experimentation sessions will govern nature and specificity of tasks in each. Day 1: Action/Sound/Object Orientation 1. Causality: Explore cause and effect with sound/interfaces/actions. 2. Range of Sound-making: one discrete sound; continuous sound; 2 sounds simultaneously; all sounds together. Range of theatrical character in regards to movement and voice within the space, objects, text and clothing. 3. Actions: What actions/movement trigger sound recordings? Explore and develop sets of actions/movements with objects. Do we set parameters for actions as tasks? What actions are without sound? 4. Rearrangements: Can the furniture be played with outside the signifying realm of function? Options: Place chair upside down on the table; put book under the leg of a table; stack objects. Performers sit/climb on/on top of and under objects… Day 2: Character and text development 1. How do we find Stein? • Where and what is Stein? Is she symbolized as a table or is she one of the performers or can she live in the text? • How do we translate concepts into actions? What actions discover Stein? What is our exploration? • How is Stein brought into the real of performativity? • What is the relationship between the sound (Stein text), movement, objects 2. Sound experiments: secondary sound-making • Stein = voice / sound. What happens when Stein is a male voice? • How important is it to have a primary source of triggering or can the sound be re iterated and sampled? Explore extended sound files and short clips or samples. • Relocate mices in different places on objects… on chair + table; on table only? • How do these new sounds impact Stein? • Re – locate performers in relation to objects and sound sources. • Generate sound through scratching on table, strumming with fingers 3. Roles of Performers: • Who or what is a character? • What is the relationship of performers to each other and their relationships to the objects? • How do the performers collaborate in the pursuit of finding Stein? • How do we differentiate ourselves as performers respecting our different disciplines, craft and expertise? Day 3: Structures and systems 1. What is our structure that is both open and reliable? Can we develop a sequence or set of actions without becoming choreographed or static in theatrical blocking? 2. What tasks and actions are engaging for ourselves and for viewers? Can we develop, catalogue and name a series of actions / movements which can be accessed within improvisational structures?
3. How do we work with predictability, patterns, unpredictability, the unknown and improvisation? 4. Set up conditions for sounds to be triggered through certain actions as excited systems.