To hear, is to see. The basis of our experiment is to find out if you can still have a performance when sight, life’s main sense, is taken away. For some they do not have the option to see, whether they were born blind or it has been a gradual process, they learn to use […]
Understanding senses and sound evaluation
Our aim was to understand the important role that each sense plays in terms of allowing the audience member to recreate a memory. By reading Stephen Di Benedetto’s The Provocation of the Senses in Contemporary Theatre we gained knowledge of how to exploit each sense and use the storytelling within our performance to highlight each […]
‘The Senses in Performance’
The Senses in Performance (2007), edited by Sally Banes and Andre Lepecki, seeks to explore the dynamics and uses of senses in Performance Art. Banes describes perception and the sensorium as being continuously “activated and repressed, reinvented and reproduced, rehearsed and improvised” (2007, p. 1), and pushing the audience’s senses constantly to the limit is something we wish […]
Rehearsal Techniques..
During our experimentation and rehearsal process leading up to our performance, we have undergone many techniques and rehearsing styles to discover more about the genre of Performance Art. What happens if we just sit here? (Marina Abromovic) We tested this question by re-creating one of Marina Abromovic’s many experimental performances The Artist is Present, see blog post […]
A performance located in the imagination: The Internal and External performance space – Touch, Taste, Smell and Sound
There are many different elements in our performance, perhaps this is to constitute for the lack of sight in the performance; so that we are able to enhance every other sense to its limit. What we must address is what we want to accomplish from the inclusion of all these different layers in the performance. […]