‘What happened here? I hadn’t even entered the space with Chloe yet and I was already feeling indignant, mischievous.’
Enjoying reading these accounts of experiences at the 2015 Proximity Festival.
Ten Days on the Island Artistic Director David Malacari reflecting on what he’s seen and what he’s thinking about in terms of the 2017 Festival program:
‘But then there are the amazing things. A Korean re-imagining of a Marquez tale in traditional Korean pansori style, or a performance installation in an old water pumping station at night time where a small audience, armed with torches, was led down through the vast concrete halls of an abandoned complex that has been turned over as a venue for street artists.
Wouldn’t that be something to wish for in Tasmania – a venue in which young artists could experiment and expand their craft and imaginations – really turning Tasmania into a creative state? Macquarie Point? Inveresk? An old hydro facility somewhere on the island? The old Burnie paper mill?’
Yes! Yes please … keep thinking in this direction. As much as I’ve enjoyed a number of outstanding mainstage shows it’s the unusual venues and experiences that (personally) really enliven and enrich my experience (as creator and/or audience).
‘Forty people gathered expectantly in a quiet laneway tucked behind Melbourne’s vibrant Lygon Street. Like the stories of Polish writer Bruno Schulz in which reality hides extravagant strangeness, the door of a small terrace house opened into a ‘wunderkammer’, a veritable cabinet of curiosities in which each room contained twilight-zone performances of strange beauty, menacing wonder, as well as exquisite sensuality.
The event was DOMICILE, a programme of performances and installation pieces directed by Aviva Endean and staged with deft and imaginative flair in the house in which she grew up. The audience, provided with a plan of the house, wandered the rooms at will.’
I so wish I had heard about this event while it was on. Still, thank goodness for blogs like “Partial Durations” to let me know what I’ve missed out on (and who to look out for in the future).
‘”It was a case of ‘Is there a doctor in the house’, except it was ‘Is there a witch in the house?,” she said.’
Not quite the story I was hoping for (based on the headline), but still a great story about putting yourself out there.
I really loved this film. I remember dreaming about it in the lead-up to its release; so it feels like a good match with Sleep No More in terms of its tendency to inhabit the sleeping mind.
But, looking at the ‘buy tickets’ page and the big list of character pictures, I’m wondering – will this be anything more than a big dress-up party?
Not that there’s anything wrong with it just being a party where you’re given a character ‘category’ to dress as (e.g. the Montagues or the Capulets)… but wouldn’t it be amazing if the experience somehow transcended that. I’m imagining that ‘through the fishtank’ scene in the movie – the immersion and wonder and speechlessness of that. Would there be a way to create that feeling and experience (which is necessarily intimate) for more than a few audience members at such a large event? Does it matter?
‘In a video game, having an impassible wall around the town makes it clear where the action is to take place, but hardly enhances the sense that this town exists in a real world. But if you remove the wall and let players roam the countryside as well, you create a situation where you must decide where to stop creating the world, since it cannot be infinite. A boundary must still be created. Perhaps a river? A mountain range? A chasm? Even when creating an immersive experience with an ambiguous “edge”, participants still need a way to know, for sure, where the experience truly ends.’
via Ten Things We’ve Learned About Immersive Design — Medium (Foma Labs).
This point about the need for an “edge” (however ambiguous) is really interesting to me. What happens when the audiences / participants redraw where that edge is?
One, fairly literal, example I can think of are players who find and “exploit” the environment of video games in order to play the game in unintended ways (e.g. by manoveuring themselves off of the playable map in order to bypass a difficult encounter – see: S.A.B.E.R 2 Warsat Cheese. Easy Warsat Capture).
However, in addition to, “pushing” those boundaries (or moving yourself beyond them temporarily) audiences/participants might also attempt to redraw the edge “inside” the designer intended edge.