“A place owes its character to the experiences it affords to those who spend time there – to the sights, sounds and indeed smells that constitute its specific ambience” (Ingold, 2000,192)
Our original idea for our audio walk involved a lot of quite forced audience participation, however things have worked out differently as our ideas panned out. Instead, we are trying a ‘gifting’ approach with our audience – we want to look after and ‘nurture’ our audience this is so they can have a fruitful experience – we want them to feel comfortable, not forced to do things or out of their comfort zone but allow them to be alone with their thoughts, something a lot of people don’t get to do very often because of the fast paced lifestyle many people lead.
One of the audio’s we intend to use was recorded by one of our groups family members, this was because we wanted a relaxed recording – not recorded by an actor of any kind – just an ordinary person. This resulted in a couple of (barely noticeable) hiccups which we have decided to keep. This is in order to sustain an informal approach and hopefully relax the audience members so they feel comfortable and therefore open to personal reflection.
Referring to the earlier quote from The Perception of the environment we have decided to regard the locals of Lincoln in our piece. In the beginning we unintentionally avoided anything that could be a distraction to our audience instead of realising we could use this to our advantage. The place we have chosen wouldn’t be as it is today without the people making it so and we have decided to pay homage to that and note them in our walk. We will refer to them as soldiers in the square and ask them to take notice of them. This is because of the nature of our performance – it is about a journey – everyones personal journey. At this point in the walk where we refer to the people of Lincoln it is to encourage our audience to think of others journeys as well as their own and what has caused them along their journey to be there at the exact same point in time. In Mike Pearson’s introduction to Site Specific Performance Sue Palmer states “It is not just about a place, but the people who normally inhabit and use that space. For it wouldn’t exist without them” (Wilkie, 2002, 145) therefore we decided to incorporate ‘orchestrated serendipity’ into our piece, a phrase inspired by Fortnight a project which happens in only a handful of cities and allows the participants (who are locals) to see the place with fresh eyes – which is exactly what we intend to do. How we will do this is use subtle symbols around our tour which relate to the audio. For instance we may decide to ask our audience to think about their day – what has happened this morning? What is in the news? and along the walk could be a person reading a newspaper, something so ordinary it is barely noticeable, but, we intend to do a few of these so hopefully the audience will notice and keep their eyes peeled for every subtle ‘coincidence’.
Ingold, T (2000) The Perception of the Environment: Essays on livelihood, dwelling and skill. London: Routledge.
Pearson, M. (2010) Site Specific Performance. Basingstoke: Palgrave Macmillan
Before we broke up for the Easter holidays, we created a detailed script of what would exactly be said on the audio files. This allowed us to understand exactly what the audience would hear and produce trial runs of the performance, allowing us to see any places where improvements would be needed. It also made us go through the performance idea with a fine toothcomb and really understand what each site means and what our intentions were for each site. We really tried to make the text as guiding and encouraging as possible, with specific terminology and phrasing that wasn’t harsh and ordering. We did this because we wanted the piece to feel quite casual yet with clear enough orders so the audience can get as much out of the performance as possible. Therefore certain phrases like ‘please be aware that you will be crossing public roads, so take care’ and by using ‘please’ and ‘thank you’ it makes them feel at ease.
We then broke up for the Easter holidays and each had tasks to do ready for when we arrive back. Fleur typed up the script into a really clear format so that it was clear for not only us to read, but also Rachael so she would get a accurate understanding of what would be exactly said and give valuable feedback. (Script attached below)
I gathered recording of the Cradle Song and the seven ages of man speech from my young family friend who read the Tennyson poem, and my granddad who read the Shakespeare monologue. (Both files attached below)
The Cradle Song
The 7 Ages of Man
However, despite our enthusiasm for using the 7 ages of man speech to finish our performance, Rachael said that the symbolism of the circle of life isn’t clear enough to justify the grand speech. She said that we would have to make the transitions between the ages more fluid and less extreme (e.g, jumping from an infant at site two, to marriage at site 3). This would allow the audience to realise the gradual journey, rather than suddenly skipping a significant chunk of life as it may make it hard for them understand what is being portrayed. We them looked specifically at the seven stages of life that is spoken about in the speech and worked our way through each stage, creating a site for each age.
The infant … (the cradle song poem)
The schoolboy … (commenting on the school that is on the route, the bustling streets at 3:00pm, and also asking them to reflect on their schooling experience)
The lover … (confetti scattered on the floor and wedding bells playing over the audio)
The solider … (walk to Castle Square, look at the people ‘marching’ in the street, very patriotic)
Justice/ peak of life … (walk to the three arches and stand in front of the highest peaked arch, rhetorical questions in present tense reflecting on the journey they have embarked on both during the performance and also before they arrived)
Mature/ elderly man … (walk through the arch and stop outside the west face of the cathedral, the same rhetorical questions are read but in past tense)
Second childishness … (the seven ages on man speech, completing the cycle)
To achieve this level of detail, we needed to change the route of the performance. Instead of turning left into Misters Yard, the audience would carry on straight and head back into town and into Castle Square. This therefore allows the forth age of the solider to be incorporated. This change of route also highlights the fifth and sixth age of reflection and the peak of life through the three archways, which symbolise a change in time when the audience pass through them.
To enhance the different stages of life we decided to incorporate some orchestrated serendipity, chance encounters and coincidences. Several scallop shells would be drawn, hung or placed somewhere in each site (possibly on the Tennyson statue, hung around the head of the gargoyle coming through the wall, on the railings of site one etc). By scattering them around the route it connects everything up and also reassures the audience that they are on the right path. As well as the scallop shells, chance encounters will be places around the route, such as a small knitted Easter chick toy outside the Tennyson statue, a lost child’s glove on the fence outside the school, confetti scattered on the ground outside the church, one of us in a ‘Help the Hero’s’ t-shirt collecting money (which will be donated to the charity by the castle etc). Once again this enhances each of the ages of life. Theatre company Proto-type’s performances of Fortnight (Proto-type, 2014) used chance happenings within their site specific performance. ‘Each location offers a brief encounter that illuminates the everyday’ (Warwick Arts Centre, 2014). This enhancement of each site is what we aspire to achieve.
Additional research
Mark Storer and Anna Ledgard’s Boychild (Storer and Ledgers, 2007), performed on Fathers Day 17th June 2007. This performance is extremely similar to our own. It is a site specific piece where the audience each have a headset and are taken on an audio guide around a building, stopping at curtain areas to consider either an instillation of some kind or listen to voice recordings. This piece is not only similar to ours in regards to the layout, but also their intentions. This piece ‘takes the audience on a journey around the building and a journey through life from fetus through sprouting puberty to old age’ (Gardner, 2007). Both our piece and Storer’s plays with the power performance can have over the perceptions of a site. Many theorists discuss the difference between place and space, how something can be a space (lacking in personal understanding) or a place (a site which holds a personal understanding). In reference to Boychild, Helen Nicholson stated that ‘space is never empty; it always carries social connotations and it is always someone else’s place’ (Nicholson, 2009, 61), thus we have to understand that people will hold different interpretations of the site we are working in.
When underground rock breaks along a fault, the sudden release of energy causes the seismic waves that cause the ground to shake. When two pieces of rock or two plates are rubbing against each other, they begin to stick slightly, meaning although they are pushing against each other they do not move. Through time the rocks break causing an earthquake.
Both during and afterwards the plates and rock continue to move, this occurs until they are restricted again by one another and therefore become stuck once again.
The focus is known as the spot underground where the rock breaks, the place above the focus on top of the ground is called the epicenter.
The most severe damage is found closest to the epicenter and then dispursed from there outwards, earthquakes can alter in time depending on teh amount of energy that build up before the release, as well as the size of the breaking rocks or plates underground.
BBC (2014) GCSE Bitesize- Earthquakes and Global Warming. [online] London: BBC. Available from http://www.bbc.co.uk/schools/gcsebitesize/science/ocr_gateway_pre_2011/energy_home/6_stable_earth1.shtml
In the last lesson we spoke about doing a route on heaven and hell; however Rachel advised us that it would be better to steer clear of this idea due to religious views etc. This allowed us to think clearly about what we really wanted to do our piece about and it made us look deeper into what we could focus on and what would draw the audience in. We headed into the cathedral for some inspiration and noticed a room which I personally have never seen before. This room was a war mayoral room which pushed our ideas towards something to do with the fact that Lincoln has a RAF base however there was not enough data on the RAF base to explore that idea. After looking into the RAF idea, we discovered that there had been an earthquake in Lincoln in 1882, which destroyed most of the Cathedral. We found that this would be an interesting thing to base our Site piece on and looked further into it. We started to work on the audio, finding bits of rumbles to put in, however we found that when recording up the hill, the wind would affect the sound.
Following Conan’s feedback we had a creative period of 3 weeks that spawned a lot of creative ideas. For example during this period we had the idea of using the CCTV Camera, this stayed until the final piece as Tania and Lily were turning with the CCTV camera whilst holding the iPad and Go Pro to present a metaphor to the audience regarding CCTV cameras always following you.
We also thought of the mapping idea during this period, this was vital to our performance as we could now not only follow the members of the public but also mark their exact whereabouts and give results to the audience and intrigued people at the end who could’ve ended up in our performance.
