Projection of film beside hung skin costume worn in performance.
Projected my documentation/ filmed performance wearing the stitched skin suit. Overall I am happy with the response I received from the crit - my intention was to create a material covering that represents skin and this idea of a covering was widely seen. I got some interesting responses linking the piece to family ties or connections which I like, as I wanted the piece to come across as two bodies coexisting in virtue, an organism formed by it’s sub parts/ bodies to make a whole. By performing, we can see the ‘skin’ and its physical boundaries that can be explored through movement - tightening of skin, wrinkling, sagging, looseness, tightness - all attributes of skin we associate with age which was another key idea I hoped to get across so am glad people picked up on that!
I got some really positive responses to the performance, people giggling through out the video to these strange bodies/ performance in the skin. I like how my piece gives some light relief to the audience.
We discussed the filming of the piece, and agreed that having it filmed all in one, still frame complemented the piece nicely given the action of the performance. I’ll need to refilm the entire thing as I had edited some separate clips together and the frame went off to one side at the end/ out of focus.Â
I was asked why I had performed my piece in the location I had (which was my local park that had the plainest backdrop I could think of, and was also big enough for us to stretch out the material as much as we could when performing). Could I try a more domestic setting? Sitting on the sofa, making tea, how does the skin/ organism interact in that context. I do like this idea but worry my concept of the physical boundaries/ aspects of skin such as looseness and tightness would be lost if I were to film the performance of skin in that way because in most inside settings there is not enough space to stretch out. The context of indoors, performing perhaps ritualistic activities like making tea, browsing books in the library, doing the food shop would distract from my initial intention of the piece, although it would be comical to see it worn in public! However, that said, I would essentially be exploring a space in a new ‘skin’ so the movements and actions to this new context would be a statement in itself.
In terms of advice for improving the film, people suggested using more dynamic, contrasting movements. I agree as the first half of the film is quite slow, the movements never stray from our counts of 8. Should we experiment with choreography that is less instructional, but based on more natural, intuitive behaviours/ body language to see what other movements can be generated?
The tutors asked why I hadn’t performed it live, which was due to lack of confidence on my behalf to give adequate instruction to a volunteer to help me perform in it. I found me and the performer in the film had to practice the choreography multiple times before filming so felt nervous to do it off a whim in the crit, however, the spontaneity and audience participation could have created an entirely different performance. So someone suggested that having the film in the background of a live performance helps the viewer understand what they are being asked to do (almost like an instructional video) and could work in tandem with each other.
I want to reconsider my music choice in the film (a foetus and mother heartbeat) because I was told if my intention is not a mother/ child relationship then the music is not appropriate. Perhaps I should seek music linked directly to skin: audio of skin to skin contact, hands rubbing, clicking, body percussion?? Or use materials that link to the fabric used in the garment - elastic snapping, tights ripping? Something more surface level as opposed to a deep, internal bodily sound like a heart beat.
