Tag: solo performance

Trial By Ordeal: Sync Or Swim?

Jessica Sanders / / Trial By Ordeal: Judgement Day

Firstly I couldn’t believe how many members of the general public had stopped what they were doing and gathered round to watch my performance. Many swimmers had stopped on the guide ropes that separate the two pools while others gathered around the poolside. I was quite nervous for my performance as I had many guests coming that where neither synchronised swimmers or drama students and therefore I believed that they may not understand the piece.  Then all this suddenly became irrelevant as I looked up at the steps I had to climb to the diving board…

I’d done it, and survived!

I feel the main challenge was the use of sound as during rehearsal, I had practiced between the hours of 9.30 and 23.15 and therefore the pool was considerably quieter, which made the music easier for myself and the audience to hear. I did not fully anticipate the added nosy that would be created by the busy public swimming in the opposite pool. After hearing some feedback from the audience I feel that some of the voices overs may have been too quiet for them to hear which is disappointing. Therefore if I were to perform this piece again I would have to consider performing at a later time or hiring the entire pool.

The use of the bands worked really well, which was my main worry as I had not used them in a full dress rehearsal before. If I were to do this performance again however I would try to position the ending more in the centre of the pool as I feel some of the audience may not have been able to see the web-like effect I wanted from so far away.

I enjoyed every moment of this module and am pleased with my final piece. I have been able to incorporate the two things I have grown up with and love and make a performance to entertain, excite and inspire an audience.

Enjoy:

 

Trial By Ordeal: Performance Day

Jessica Sanders / / Trial By Ordeal: Judgement Day
30 minutes before performance.
30 minutes before performance.

It is 6.45 and I am due to start in around 1 hour time. I am currently warming up as I won’t get much time in the pool later. I have finally managed to get my yoga bands and have a quick test with them in a public session earlier. I have just begun gelatine my hair, which you normally do for synchronised swimming, to keep it in place during your routine. I have also started applying my make-up, water proof of course, all set for the performance.
It excites me that I am beginning to get asked a lot of questions by the public enquiring as to what I am doing. Many seem to find it odd that a woman is walking about the pool with a cape and plenty of make up on. Me though, I’m oblivious to the spectators and to the audience that I have invited who are now starting to arrive, my biggest fear is going to be stepping off that diving board one last time.

Wish me luck.

12th May: Getting it on or, more correctly, off its feet.

Jessica Sanders / / Trial By Ordeal : The story behind the title
A view from the balcony at pool I am to perform in. Yarborough leisure centre
A view from the balcony at pool I am to perform in. Yarborough leisure centre

After being in the pool for one hour, I have established one main conclusion. I am certainly not as fit as I used to be! Fear not however, as this is not a synchronised swimming competition and there are certain moves that do not need to be performed accurately and I am sure making a bit of a splash will not be frowned upon in the performance. I have therefore decided that, struggling and all; this may be a positive aspect of the piece after all, I don’t want my routine to be the typical all smiling, all dancing performance that is synchronised swimming. I want the audience to see and feel my pain, laughter, anger and enjoy watching the piece as much as I enjoy performing it. In the unfortunate circumstance that I do drown during the piece, at least it goes well with the title.

 

Today way my first rehearsal and training day in the pool and although I had not yet made my music for the piece, I did know what tracks I would like to use and therefore took these with me to experiment with and start devising ideas for the piece.

 

I also took this opportunity to experiment with props in the water for performance as I wanted the last piece to involve myself becoming wrapped up and entwined in fabric. I firstly tried ribbon but this was too thin to be seen and therefore wouldn’t give the impact I desired. Sheet of material didn’t work as in was too heavy for me to move and play with and rope was not very durable or visible. I have decided that I will have to come up with a new idea for this part of the performance and return back to it next rehearsal.

 

All in all a very good start, but damm my body’s going to be aching in the morning.

 

 

 

Rhythm O (1974) by Marina Abromović

Jessica Sanders / / Solo Performers (Research)

Rhythm O (1974) by Marina Abromović is an extreme example of the use of the spectator-performer, as without it, there would be no performance. During this piece Abromović placed seventy-two objects including: a gun, feathers, scissors, pens and an axe, in a room for six hours with the audience, leaving herself at “…their mercy…to be used on her as they wished2 (Freshwater, 2009, 62). This type of performance places many hazards for the performer as they are no longer in control of the performance and the spectator is able to develop their own ownership of the piece. Helen Freshwater explains in her book, Theatre and Audience, how this can affect the performance: “…breaking conventional performer/audience boundaries can produce exciting, unexpected outcomes, but it can also expose the performer to uncontrollable risks.” (2009, 13)

I extremely like the concept that the performer can have one effect on a specific member of the audience (the performer-spectator), as well as the surrounding audience in the museum.

Works Cited

The Artist is Present by Marina Abramović

Jessica Sanders / / Solo Performers (Research)

The Artist Is Present, 2010. Performance with three-channel video installation; 3 Months. The Museum of Modern Art, New York
The Artist Is Present, 2010. Performance with three-channel video installation; 3 Months. The Museum of Modern Art, New YorK

This piece was performed at The Museum of Modern Art in front of a vast, ever changing audience where spectators where given the chance to enter the performance space and sit opposite Abramović. The performance involved Abramović sitting in a chair for the duration of her exhibition of work being open: she would sit from opening (9.30) until closing (17.00) on the 9th of March 2010 until the 31st of May 2010, where the spectators would be given permission to sit with her. Once entering the square space, the spectator becomes involved in a different performance to what the other onlookers see and feel. Abramović performs for every individual that comes to sit down, she bows her head, closers her eyes and prepares for the next performer-spectator. In the film The Artist is Present each performance is individual for the one audience member, Abramović is said to“ Reconnect, it is only for you. Everyone would like a clean, unique contact with Marina” ( Akers, 2012)

I extremely like the concept that the performer can have one effect on a specific member of the audience (the performer-spectator), as well as the surrounding audience in the museum.

 

Works Cited