Beneath the Waters of Consciousness

alice in wonderland

http://disney.wikia.com/wiki/Alice : accessed 04/03/12

The act of the bedtime story is an intimate experience, usually shared between parent and child. It is almost always a private occurrence. So, by creating a performance with it and making it public, it no longer has the element of privacy. It is often understood that the mothers are more likely to read to their child than fathers. “Not only do mothers still do the majority of shared reading, studies suggest that they do it more effectively than fathers.” ((Blake, J, & Maiese, N 2008, ‘No fairytale… the benefits of the bedtime story’, Psychologist, 21, 5, p. 386-388, EBSCOhost: accessed 27 February 2013. Page 387.)) Having a mixed gender group, this is a concept that can be challenged. Would an audience member respond differently if read a story by a male rather than a female?

“Storytelling is sometimes seen as an innocent activity best suited to young children” ((Killick, S, & Frude, N 2009, ‘The teller, the tale and the told’, Psychologist, 22, 10, p. 850-853, EBSCOhost: accessed 27 February 2013. Page 850.)) Therefore, combining the sexual content of a raunchy novel with the innocence of a fairy tale blurs this theory. The audience go from the safety of a bedtime story to the unnerving effects of the adult content. Because they won’t be expecting it, then it should come as a shock to them.

“Beware the stories you read or tell: subtly, at night, beneath the waters of consciousness, they are altering your world.” ((Killick, S, & Frude, N 2009, ‘The teller, the tale and the told’, Psychologist, 22, 10, p. 850-853, EBSCOhost: accessed 27 February 2013. Page 850.))

If this quote is true, this story should stir a deeper reaction than just uncomfortable shifting or nervous laughter. Even though the audience are not going to sleep, the crossing over of child and adult content may have an effect on them after they leave the room. They may look at fairy tales in a different light and be able to pick out the Freudian elements in a lot of them. Alice in Wonderland itself is a very Freudian story.

From cowboys in the street to rabbits in the kitchen

Lone Twin’s performances are public involved, and performances are built on the interaction they have with their audiences and the reactions they get from them. Gary Winters and Gregg Whelan, who were the founders of Lone Twin, are not actors, and do not use acting in their work, they perform as themselves. When discussing their work, Gregg spoke; “So it’s not at all an actorly thing; it’s just a reporting back, and trying to give it some space.” ((Williams, David and Carl Lavery (2011) Good Luck Everybody: Lone Twin: Journeys, Performances, Conversations, Wales: Cambrian Printers)). This is something I have mentioned before that I will be doing – not acting as if I am a rabbit, but just being myself in a rabbit costume.

One of their performances called ‘Totem’ involved them dressed as cowboys carrying a full sized telegraph pole in a straight line through the city of Colchester. Some members of the public would stop and ask them what they were doing and others would even join in and help them carry it for a while. Their work includes the public and that helps them structure their performances: “The first times that it happened people were suddenly, without any framing of it, inside the piece, doing what it was we were doing.” ((Williams, David and Carl Lavery (2011) Good Luck Everybody: Lone Twin: Journeys, Performances, Conversations, Wales: Cambrian Printers)). The notion of interacting with the audience, their lives and their stories over a cup of tea in the kitchen while dressed as a rabbit I think will be very interesting to see how they actually do respond.

Pinocchio Pipenose Household Dilemma

Another idea that could be incorporated is having some sort of installation piece, which would be interesting as some of my ideas were to completely change the purpose of the space, which is the concept of installation art. Paul McCarthy’s works show the way he used fairy tale like characters and changed how they are viewed, making them absurd and shocking. One example would be in 1994 when he dressed in a Pinocchio costume with a mask and a long plastic nose attached to it, in a house like setting. In the piece he uses the nose to blow bubbles in a bowl of ketchup and force feeds chocolate spread through another Pinocchio nose and then covers himself in it. It is something to be watched and doesn’t include interaction with audience members. The idea of using fairy tale characters works well with my performance as my idea came from The White Rabbit from Alice in Wonderland. Perhaps creating something absurd could also work as the dislocation of having a giant rabbit in a kitchen is initially quite surprising and this concept could be played around with.

0cf0bfcf-d73d-40ae-956f-3c361a2ce0d2_570

McCarthy, Paul (1994) Pinocchio Pipenose Household Dilemma, Online: “http://www.mutualart.com/Artwork/Pinocchio-Pipenose-Household-Dilemma/7CACBC3406FEFD05” (accessed: 24 February 2013)

Human Space? Heart Space?…..or rather OUR Space!

“So we ask, what does homeliness mean and how is it created?” ((Bollnow, O.F (2011) “Human Space” London: Hyphen Press p.142.))

This is an interesting thought, how does one create homeliness? If we apply this notion to the house on West Parade, we can look at the aesthetic and objects of the house. Most room’s contain furniture to identify the use of each space (i.e. bed = bedroom, sofa = living room) however would these room’s still create that sense of homeliness without the furniture? In the living room we have experimented with the feel of the room, simply by moving the sofas into different positions has made us feel more relaxed and made the room more homely.

Keeping the doors shut moves onto another factor that adds to the feeling of homeliness, warmth. Feeling cold instantly changes the mood and feel of a room, I think this is perhaps why the ‘cot room’ creates the opposite feeling of homeliness as there is no radiator meaning it is always cold which makes people feel uneasy. ‘What does homeliness mean?’ – Personally, I think it is a dwelling in which you can feel comfortable, relax and be yourself. However, I think this is only possible if the environment can totally put the individual at ease. “Warmth, seclusion, size, security, stability, history and objects” ((Bollnow, O.F (2011) “Human Space” London: Hyphen Press p.144.)) are all factors that have the potential to make a space feel homely. It is these factors that we want to weaken to challenge the notion of home and make the audience distinctly aware that this space is not a home.

“One must also be able to see that the room has been lovingly cared for. But even though disorder and neglect have a disquieting effect, an excess of orderliness is also oppressive, because one is afraid of disturbing the order. The room must also show that it is lived in, and this means that certain signs of life – a book that has been laid aside, work that has been begun – should be recognizable in it.” ((Bollnow, O.F (2011) “Human Space” London: Hyphen Press p.144.))

This stimulus is at the very heart of what our group intend to create as we plan to play on the fact that a room should be lived in by placing stacks of empty pizza boxes and alcohol bottles all around the room.

LivingRoom

The living room of the house on West Parade showing pizza boxes, beer bottles and other materials. Photograph by Sam Davis. (Please click on the picture to view the Living Room page to learn more about our performance ideas)

Using this as an extreme of a home that has been lived in, will subvert the audiences thinking of how a home should be presented and feel. The living rooms aesthetics already provide a contrast to the belief that a home should be cared for, the wallpaper is stained and peeling.

Creating surroundings that show they have been cared for and lived in will always be artificial in a performance.  This is typified from the history and the use of West Parade house as it is set up to represent a certain dynamic. However our space can be changed and moulded to present a different  home artifice. An artifice that says: “Everything looks okay on the surface, but is it ?”

035_HS

     Photograph from Human Space book cover. ((Bollnow, O. (2013) Human Space. [image online] Available at: http://www.mottodistribution.com/shop/publishers/hyphen-press/human-space.html [Accessed: 22nd February 2013].))

Liminal, Compact and Ignored Spaces

Ignored Spaces

From working with the CCTV, I noticed and discovered all of the spaces which could be used and what is normally ignored by it being a threshold or somewhere we usually store belongings. I want to draw the audience attention to these spaces and how they can be used impermanently. I again looked at Eve Dent and how she embodies the spaces she is in. “My work explores the boundaries between the physical body and the body of a site.” ((Dent, Eve , Eve Dent 2003 online:http://www.an.co.uk/artists_talking/artists_stories/single/59462 (acessed: 18/02/2013))

85934-4
Eve Dent ((Eve Dent, ‘Anchor #3’, May 2002. Photo: Mike Young)).

Eve Dents work is similar to Lindsey Jennings Hill piece which is a journey of the Stage Left Staircase at Hoxton Hall ((Jennings Hill, Lindsey 17/12/2009, Stage Left Staircase, p9)):

“There is a curve in the wall here. Why is it there, what is it for? My body moulds perfectly into the curve in the wall, it feels like it was waiting for me, like I complete it, fill its spaces to make it whole. (I lean my body into the curve filling it with my body).” 

 

The idea of her embodying the wall, I found was intriguing and thought it would be effective for the audience to appreciate these places they wouldn’t normally notice.

I was then guided to look at the work by Willie Dorner. His work entails of

“squeezing human bodies into nooks and crannies for his Bodies in Urban Spaces project. Groups of dancers, climbers and performers wearing brightly coloured clothes run through busy malls and high streets and cram themselves into doorways, alcoves and any gap they can find in public buildings.” ((Bodies in urban spaces by Willie Dorner The Guardian, Sunday 21 June 2009 15.09 BST Online: http://www.guardian.co.uk/artanddesign/gallery/2009/jun/21/bodies-urban-spaces))

Willi-Dorners-Bodies-Will-015

Willie Dorner ((“Bodies in urban spaces by Willie Dorner” The Guardian, Sunday 21 June 2009 15.09 BST Online: http://www.guardian.co.uk/
artanddesign/gallery/2009/jun
/21/bodies-urban-spaces)).

Willi-Dorners-Bodies-Will-017

Willie Dorner ((“Bodies in urban spaces by Willie Dorner” The Guardian, Sunday 21 June 2009 15.09 BST Online: http://www.guardian.co.uk/
artanddesign/gallery/2009/jun/
21/bodies-urban-spaces)).

From looking at these three artists, I explored use places in the house like the cupboards, under chairs and desks. In these, spaces I would photograph my experience of being cramped and discovering the site. I decided to have this project separate to my work in the CCTV room as we have develop a different concept.

Putting on a Front in your Front Room

Tiffany Thompson 

The living room normally where the family sits and socializes. This room was once was used for special occasions, this room was the best decorated. It also was used as a resting space for dead, the late family members would be laid in their coffin in the best room of the house, the living room.
However, times have changed “The modern era has seen the focus of the room shift from the coffin to the box” ((Heathcote, Edwin (2012) Meaning of Home, London: Frances Lincoln. p.36.)), now the television is the center of the living room with all the furniture pointing to it with families staring into a void of reality TV.

Samuel Davis

With Heathcote’s quote in mind about the television as a focal point, we decided (Me, Tiffany and Lauren) to use the TV as a focal point in a performance. To start this process, we watched a series of films to gather research. Whilst doing this, we wanted to feel comfortable so we played around with the feel of the room by moving the furniture and creating a cosy feel. At the same time, we interacted with people moving in and out of the room (which frequently happened). The first film was The Moon and the Sledgehammer ((dir.Philip Trevelyan)) which followed a 1972 family who lived without running water, gas or mains electricity. The ideas that sprang from this was how the use of technology has killed any social interaction that once occurred in living rooms. Phrases now familiar in living rooms up and down the country feature ‘turn the TV up’ and ‘be quiet I can’t hear the tele’. Many ideas began circulating after the film and our first thought was too create a performance where audience members would encounter technology being used in the living room, slowly this would be taken away, until there was no electricity, TV, or anything technological.

However, we further developed our research by watching Hitchcock’s famous Rear Window film and realised that we could include as many normal activities that we do ourselves in our living rooms.

rearwindowIMDB

The 1954 film poster for Alfred Hitchcock’s Rear Window. ((Paramount (1954) “Rear Window,” Colour Poster 1954 Paramount. [image online] Available at: http://uk.imdb.com/media/rm1147639808/tt0047396?ref_=tt_ov_i [Accessed: Sunday 7th April 2013].))

Lauren will talk more about these activities later in this post, but it will happen live during the performance and create that notion of being in a living room. Looking back historically we learn that the living room was often ‘saved for best’ as it was used for deceased family members “The front room was preserved – like the cellophane-shrouded three-piece suite – for best” ((Heathcote, Edwin (2012) Meaning of Home, London: Frances Lincoln. p.35)) Following this, we wanted to create a juxtaposition of reserving the living room for best by playing on the natural design of the scruffy West Parade house. We will do this by changing the aesthetic of the living room by using certain objects to create an effect.

Living Room

Photograph showing how we have moved the furniture to create a ‘homely’ feel. We also played with the idea of performing outside. Photograph and editing by Sam Davis.

I think the use of the television will be integral to our performance. One idea was to have a loop of different TV shows playing. I thought it would be interesting to keep these TV shows on a similar theme so that they all talk about the notion of home. For example, we are in the living room at East Lodge watching an episode of Eastenders where the characters are at home watching TV whilst talking about an aspect of home. Then the TV will flick channels to Rear Window ((dir. Alfred Hitchcock)) or The Moon and The Sledge Hammer ((dir.Philip Trevelyan)) showing their family home.

Lauren Walker

In our performance we want to incorporate the feelings that you would, (in your every day life) feel when sat in your living room. We also wanted to merge the different ‘rituals’ that happen when you are sat in your living room, this could be simply turning the television over. The living room in the house has a very ‘shabby’ look to it with its ripped wallpaper and old fashioned décor which in certain aspects makes it not very ‘homely’ so we have decided as a group to play on the setting of a mistreated living room.

We have decided we would like the room to be very untidy and neglected. With the use of props and objects like empty pizza boxes and bottles of alcohol, we will be doing the usual things you would do if you were to sit on a weekend and relax in your living room such as drinking alcohol, ordering a pizza, watching films etc. The alcohol we choose to drink is important in our performance because although we are not playing characters, we do not want it to seem in any way classy or civilised. We will also be interacting with the audience and talking to them about everyday things, also offering them a drink or a slice of pizza. There is a cupboard in the living room and one of our ideas was to fill it with unwanted objects. This means if someone was to open it, things would fall out and this would show how neglected the room is. The cupboard also symbolizes how we put on a front too the people who are coming into the living room. A lot of our discussion has been about the feeling when someone is in your living room and you tend to play up to it and ‘put a front on’ we explored how that made you feel when people were sat with you in your living room and how you feel that you cant fully relax “he word ‘gemutlich’ (comfortable) described in ‘human space’ as “conduct in which man abandons the exertion of his will and of active behaviour and allows himself to relax in peace and quiet” ((Bollnow, O.F (2011) “Human Space” London: Hyphen Press p.142-143.))