- ‘Just’ – thoughtless word, idleness; ‘just go and do’. No consideration.
- My initial interest in the immersive:
– Subtext brought to the surface
– Sporadic nature of the chronology; how this could be toyed with
– Connection to nature
- What I want to get out of the intimacy workshop:
– Discover a safe space in which one can be vulnerable
– Balance between personal insecurities and professional interactions with intimacy
– Find some kind of enjoyment with it
As It Appears In Dreams
- Alina: fantasy
- Diogo: hidden desires – explore our own. Personal from the characters and ourselves
- Movement: physicalise the social oppression of behaviour – true and false self (1960s – Winnicott).
– How the social constraints hold Konstantin back in all aspects of his life.
- Orinta: dreams in the day (LOVE)
- Barrier between actors and audience.
- Faces; in dreams no one you meet is someone you haven’t met in real life. We do not build faces, rather somewhere in our unconscious is a bank of all the faces of all the people we have passed.
- Wums: create an experience for the audience
- Give control to the audience; alike to lucid dreaming.
- Animalism of the characters
- Audience fantasies
– How could you tease that our, communicate it to one another and then present it?
- Invitation; how do you bring the audience to the performance
- Tung: (her brain is wonderful
– when indoors, you are adding things in, but in Regent’s Park there is so much already there
- Identity – characters converse with themselves external rom sleep.
- ‘Doomed’ desires
Thoughts from Movement
I was disappointed we didn’t get to practically delve into the intimacy work, however after being so static all day it was liberating to finally move, even though it was for no more than an hour. I felt at peace when we finished, as well as realigned with each part of my body, reminded of how they move in isolation but also how they move together. There are very few experiences I have had in my life that gives me the same kind of awakeness.