The day after our first presentations, we went to Regent’s with some headphones to discover our routes and the logistics of using the transmitter in an open space. We had an idea of Conor’s route and walked it out, timing it to around 27 minutes. We then went on a hunt for the route for my piece, and somewhat struggled. We had a vague inkling of where we wanted it to go but hadn’t visited that part of the park. We then went over how the routes would crossover, devising the themes of the journey as we wandered around. It was very early days but we were already feeling the pressure of time on us.
The limitations of the headphones in an outdoor space became quickly very clear, though they were not so bad as we had thought. We knew our piece was going to rely on distance and so tested out how far we could go, and what obstacles made the connection dry up. To wander round with them on was the closest insight into the audience’s mind I’d had so far, and it was exciting to realise how everything becomes part of the framing – even dogs and passers by – they were all part of the performance. The sense of ‘derive’ played on my mind; if our audience were to follow us through the park it felt similar in purpose; an undertaking of a journey seemingly unnatural to one you would normally take, in which one allows the psychogeographical impact of the space to occur on the body. These two things (space and body) then sit in a constant state of transition or change, as the body transports through the space.
We then went back to uni and starting thinking about the script, outlining the opening and working out what points in the physical journey would be key to the narrative of the script. We wrote out what we nicknamed our ‘safety briefing’, which opens our piece to ensure the audience feel as comfortable as they can, considering they would be on their own.