Friday, January 12

Finding our story I


We've started to discuss about a theme, each of us thought about a story to give a mood for this Live Reptile Tent. My proposal was about a biotechnology laboratory in Finland experimenting on DNA mutants to create a race of sub-human slaves. Themes by fellow students included “…Science fiction murder mystery, using multiple spaces and twisted narrative structure. Surprising visuals involving audience, having all mobile phones ringing simultaneously. And featuring the Armpit Band…” (as in the summary by Teijo).

This is an issue to debate further. Will it be a guided tour or the audience wonders around at their own will? The space itself could change dramatically…

We didn’t decide on any of these proposals though, and next week we’ll keep exploring different kinds of narratives and stories. So far we agreed only that it would have something to do with a carnival. Well, that’s quite funny, since “Inside the Live Reptile Tent” is actually the title of a book by Jeff Brouws and Bruce Caron, featuring photos of American carnivals…

Wednesday, January 10

January 10th, day three


The morning lecture with Chris Hales went around the concept of narrative. What is a narrative? What kinds of narration exist? Definitions were pointed out by authors such as Edward Branigan and Seymour Chatman: for one it is "a global interpretation of changing data measured through sets of relationships", for the other it is "a text-type rather than a genre; it must have a narrator even if that narrator is non-human".

Also the issue of narration and video games was approached with the insight of ludologists Gonzalo Frasca and Jesper Juul. For ludologists a video game is not considered to be a narrative, although they do have plots, characters and other elements of narrative. Games are seen through the fundamental aspect of gameplay and not as a storytelling medium.

Different aspects and kinds of narration were identified: plots, stories, discourse, heap, episode, unfocused/focused chain, simple narrative, diegetic narrative, parametric narrative, mimesis.

As a conclusion we can maybe understand narrative as data organized into a special pattern by our perceptive ability to represent and explain experience.

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Later on Jouko-Thomas gave his presentation explaining his way of developing theatre plays. His big inspiration comes from Carlo Goldoni and Commedia dell'arte. He believes in a democratic process in which author and actors participate in the playwriting by sharing their views and emotions.

The process starts with the author and actors sharing their views about the general feel and aim of the play. Then, before anything is written, they go on an improvisation period where they explore more specific character details, story line, outcomes, emotions.

After they reach an agreement the author can start the actual writing of the play. So the difference is that when the play is staged, there was already interaction with the actors, and not a mere interpretation of the author's own intentions; it reflect also the actors interpretations. This kind of process leads to an unfinished play, open for new interpretations if needed.

* * * * * * *

After lunch Jukka Ylitalo explained some of his background as an actor and showed some of his artistic experimental work with human body-computer interaction. He also showed some videos of other artists' work that relate to our theme: Golan Levin, La Fura dels Baus and Cirque du Soleil, among others.

Tuesday, January 9

Repulsion and curiosity


On day 2 we were asked to do some background research on new media performances that we might have seen and that had provoked in us mixed feelings of repulsion and curiosity. La Fura dels Baus was my choice: Violent body manipulation and helplessness freak me. Although I had never seen La Fura perform live, I have heard much about them! I showed some videos of the Naumon project from their website.
Other choices by fellow students included:
  • Orlan - undergoing plastic surgery as a performance
  • Cremaster - psicadelic, surreal films
  • Ymim - unusual tatoos
  • Markus Copper - this guy is said to have cut his hand off with a chain-saw and cooked it in the microwave so that it wouldn't be sewed back. We didn't see that one, luckily.
In general, topics presented by students that would cause that kind of feelings had to do with social tabu, insanity, manipulation of body, fobias, ciborgs, robots.

Monday, January 8

Day one


This first lecture was around the concept of "Inside a Live Reptile Tent" and what it could mean. Associating the ideas of "reptiles" and "inside a tent" had the purpose of arising mixed feelings of repulsion and curiosity; a metaphor for being locked in with something freaky, even if this "prision" was made of very fragile materials.

We discussed with Chris and Teijo about what kind of outcomes were expected to emerge from this project, generaly. It was clear for all that it would lead into a narrative under the theme of freakiness, repulsion, curiosity and disgust, presented as some kind of performance, combining computer generated illusion with human presence on stage; it should allow both live and virtual audience.

Ideally there will be interaction between the audience, performers and several technology gadgets. The audience should be encouraged to move through the physical space of this narrative.

Chris showed us some examples of performers/performances related with freakiness, repulsion and digital media:
Some material presented reminded me of the Catalan-Barcelona based theatre group La Fura dels Baus. Their shows have been regarded as violent urban digital theatre. They include unusual music, industrial and natural materials, video projections among other more traditional performance elements. They involve their spectators directly in their live shows, sometimes also through internet connection. The shows are often violent, not only for the performer but also for the audience.