This past Thursday I held a short Licht event for my classmates and tutors. I was interested to see if members of the public would be interested or willing to participate in a Licht installation if they were expected to not only control the lights, but perform. I offered a brief demonstration of how it works with my trustiest actress, laid out a few dozen slips of paper with simple actions, stories, speeches, and monologues written on them, and opened it up to participation.
After a few awkward minutes in which people ummed and erred, a few daring volunteers got up and tried it. They picked the easiest slips, naturally, and got themselves started figuring out how the lighting intensity changed with each percentage increase. They fumbled, they got confused, they laughed. My veteran actress encouraged participation by grabbing up instructions, seemingly at random, and darting to a light to try them.
Gradually people started trying the tougher ones as they realized that the piece worked whether they succeeded or failed at following their lights. More got up at a time, and eventually all 3 spots were filled and all lights were operated. A vastly pregnant teacher got up and tap danced like a bowling ball while a slender actress knelt and cried. A pianist played an ambient, meandering tune according to his light while a director sang the Australian national anthem. The operators tried to keep them in time, but it took on a dissonant, eerie quality. An actress read President Obama's public address regarding the oil spill while a professor glared at the audience. Most of the inadvertent scenes that Licht generates worked beautifully.
Commentary afterwards was helpful and generally positive. The participants noted that getting up and moving was easier and more fun than getting up and speaking. Acting is tough under Licht conditions, so even though I left out a selection of speeches, monologues, and letters to be read, if the spirit moved anyone, the only documents selected were the day's sports results and the Presidential Address. Ophelia's "Rosemary is for Remembrance" speech was considered and declined by several, who realized that any document with emotions, pauses, or pacing written in would be far too awkward and difficult. Some better suggestions for text-based actions were to describe an object or ism in detail, recite a favourite poem or song, demonstrate a safety lecture, or tell a fairy tale.
The participants agreed that it was nice to give up power and internalization for a while to let the viewer choose what is appropriate. IT was fun and even freeing for some. Others who operated boards but did not perform explained why--it would be nice to have an option to participate that did not involve performing, but instead perhaps painting or creating something which would evidence the lighting changes in its creation or form.
The question arose, when it came to singing songs, reciting poems, or telling stories--the power balance seemed to shift from the audience operator to, not the performer, but the content. The operator had a hard time changing the lighting away from the piece's natural or expected phrasing--all she felt she could do was to enhance the swells and decrescendos as they came, almost like catching them in a tonal stream.
Likewise, performers felt unable to walk out of their light until they had a long enough blackout. No-one was comfortable stopping and walking out while they were still being played with, even if they were mentally done with what they'd chosen to do. Oddly, though, few people felt like they were being manipulated, or like they were powerless. Indeed, one performer expressed that she felt powerful and real in the space. Another mentioned it was an exciting and joyful experience--one because she was in the spotlight and knew she could be heard and seen, which is always a thrill, but also because of the fact that there was clearly someone operating her light, there was someone watching and strongly engaged with what she was doing. That was exciting.
I suppose it must be for performers. Even though I created this piece with that in mind I nevertheless find the idea of doing it daunting for that reason alone. But performers are used to being directed, and having their active choices made for them. It is no great leap for them between embodying the idea of the director in the next take and embodying the idea of the audience member right away. Particularly if the direction has truly already been made, it is just up to the audience what part or aspect of the performance they see.
In creating a workshop I suppose I generated a toy for performers--people who would already be interested in doing the work. I did not succeed in getting non-performance types to participate (Except for my friends who got up and felt silly for my sake.) I did offer them a chance to reflect on their energy levels, perform on their toes, and have a unique challenge to respond to real artistic contributions from the audience. But I don't think I've changed anyone's life.
----
I've decided to copy my slips of paper down here so I don't lose them. Yes, it's all of them, not a sampling, but even during the session I was thinking of more, and asking the audience for them. Several of them worked together to make interesting and poignant pieces.
Think about something you really hate. Tell us how much you dislike it. The brighter your light, the worse it is.
Tell a story from your life. At low light, feel free to mumble. AS the light gets brighter, allow your enthusiasm for the story to creep in.
Think about the first time your significant other said "I love you." Tell us about it. The brighter your light, the more exciting it is.
Count in the language of your choice. At low light, count slowly and quietly. At bright light, count quickly and loudly. At medium light, count comfortably. Stop at your leisure.
If you can tap dance, tap out a simple rhythm louder or quieter according to your light intensity. If you cannot tap dance, try anyway.
You are intimidating. The brighter your light, the harder you stare at your light operator.
You are sad. The brighter your light, the harder you cry.
Read the newspaper provided. At low light (you won't be able to see much anyway) feel free to squint at it and read slowly. At bright light, tear out articles. Be sure to resume reading when it gets darker.
Jog in place. If your light is off, stand still. As the light gets brighter, run faster.
Clap your hands according to the light intensity. At low light, clap slowly and softly. In the middle, clap comfortably. At high light, make a lot of noise!
Whistle or hum your national anthem. At low light, whistle or hum quietly. As the light gets brighter, whistle louder, and if you know the words, sing with pride when the light is bright. Feel free to sing in your own language. IF you do not know the words, "dah dah dah" works too!
Think about something you find funny. The brighter your light, the harder you laugh.
Shake your booty according to the light intensity. Try to follow the light, not any other sound that is being made in the room.
If you know a song on the piano, treat the light like a conductor and adjust your tempo, volume, and intensity accordingly. If you do not know how to play the piano, press one key faster or slower according to the light intensity.
You are the wind. The brighter your light, the stronger you blow.
Sunday, June 27, 2010
Wednesday, June 9, 2010
More Thinking, Lautes Licht
I'm beginning to see Licht as an analytic tool--something I did not expect. Particularly when contrasting elements are inputted into the machine: it poses the question, "who will win?" What will the audience choose to watch, Jefferson Davis, or Abraham Lincoln? Happy story, or sad story?
I believe it is possible to use the same rotation scheme and interface to create themes (or work within established themes or stories.)
The piece works most easily and clearly with musicians and dancers. This may be largely on account of training and habits of watching a conductor for cues and tempo. Less ethically dubious, too, when all understand clearly how they are contributing to the whole.
May work with verbatim theatre, with actors wearing visible earphones and listening to a recording of someone describing an important moment in his or her life. The actor may hone in on the rhythms of the recorded speaker's voice, and add or remove emphasis from the text according to their lighting.
It may also work with people reading documents detailing opposite sides of a lawsuit, or simply with two good bits of recent writing with contrasting themes or aims.
The piece needs to accentuate the fact that it is about the audience too.
--Light audience too, light operator to ensure they are sure they know they're inside the piece.
--slowly fade up on the operator after they've been tinkering for a while, or when they're being jerks (punishment?)
The Operator must take responsibility for his or her actions, for while the safety of anonymity encourages people to participate, it is arguable that the safety of anonymity also encourages cruelty. It has also been suggested by audience members that "abuse" of the performers by switch-happy audience members was encouraged by the specific direction to interact with the light board, and that they felt rather like they were part of a psychological study. Some even wondered if they were expected to cause harm to the performers, or if the game was for an observer to see how far they would push the performers before backing off. (Milgram experiment, The Perils of Obedience). As it was, all abusive operators, save one, felt satisfied with their abuse when one performer flubbed a line, soured a note, or missed a step--the performers were never pushed far enough by abuse to quit the game, though they knew they were empowered and expected to, and the audience never felt cruel or free enough to continue after confusion set in. I believe though, that if operators are visible they are more likely to engage with the piece self-consciously and gently, particularly if they believe that the performers can see them, as then they may be aware that there may be repercussions--from the rest of the audience, the performers themselves, and from any area security personnel.
I believe it is possible to use the same rotation scheme and interface to create themes (or work within established themes or stories.)
The piece works most easily and clearly with musicians and dancers. This may be largely on account of training and habits of watching a conductor for cues and tempo. Less ethically dubious, too, when all understand clearly how they are contributing to the whole.
May work with verbatim theatre, with actors wearing visible earphones and listening to a recording of someone describing an important moment in his or her life. The actor may hone in on the rhythms of the recorded speaker's voice, and add or remove emphasis from the text according to their lighting.
It may also work with people reading documents detailing opposite sides of a lawsuit, or simply with two good bits of recent writing with contrasting themes or aims.
The piece needs to accentuate the fact that it is about the audience too.
--Light audience too, light operator to ensure they are sure they know they're inside the piece.
--slowly fade up on the operator after they've been tinkering for a while, or when they're being jerks (punishment?)
The Operator must take responsibility for his or her actions, for while the safety of anonymity encourages people to participate, it is arguable that the safety of anonymity also encourages cruelty. It has also been suggested by audience members that "abuse" of the performers by switch-happy audience members was encouraged by the specific direction to interact with the light board, and that they felt rather like they were part of a psychological study. Some even wondered if they were expected to cause harm to the performers, or if the game was for an observer to see how far they would push the performers before backing off. (Milgram experiment, The Perils of Obedience). As it was, all abusive operators, save one, felt satisfied with their abuse when one performer flubbed a line, soured a note, or missed a step--the performers were never pushed far enough by abuse to quit the game, though they knew they were empowered and expected to, and the audience never felt cruel or free enough to continue after confusion set in. I believe though, that if operators are visible they are more likely to engage with the piece self-consciously and gently, particularly if they believe that the performers can see them, as then they may be aware that there may be repercussions--from the rest of the audience, the performers themselves, and from any area security personnel.
Tuesday, June 1, 2010
Licht Thoughts
Ethical Implications
If you give the audience the power to affect the piece, are you compromising your own artistic integrity?
Are you making your actors vulnerable to harassment and manipulation?
:All performers should be mentally and emotionally prepared to be jolted around a bit by audiences, particularly people who have never had an opportunity to touch a light board before and people who are trying to learn how to operate the piece. That is not to say the actor is not empowered. The actor is never put into a position where he is made to do anything he would rather not. He sets his limits himself, and no amount of jerking or jolting will cause him to modify his behaviour beyond that which he has established for himself to do. Claudio will only run as fast as he feels comfortable and can sustain for the duration of his rotation. While he is expected to consistently perform according to his lighting, he sets his own energy limits according to his ability at the time.
Performance Implications
If the performers must change their intensity or emotion according to the light provided, can there be honesty or truthful energy?
: if the performer considers his light to be another performer, then his energy can reflect its changes in an honest way. Likewise, if he likens it to a musical swell or scenic change, he may feel compelled to change to match it simply by the true energy relationship he has with it.
Human Element:
The relationship between actor and light is not always precise:
They determine their performance energy according to how much light they believe they have.
Their estimate of light intensity is affected by other light intensities—both of the phases provided to them earlier and of the intensity being offered to other performers.
The intensity of their performance is affected by their own personal energy level, their engagement with the action performed, the amount they trust the audience, and their attention to concurrent performances.
While precision could be maintained with a computerized system—volume or robotic movement controlled directly by the light board—not only has this already been done, but it is not performance. It is kinetic sculpture. Licht is an interface—a challenge to both performer and board operator to both be actively engaged in the energy exchange.
Performers found that they began to get a feel for operators, and found ways of adapting to particular lighting rhythms and patterns. Operators who tended to mix the performances in high-speed, rhythmic ways were frequently pleased to discover that actors would repeat a short noise or movement until they were confident they had time to continue in a meaningful way. For instance, Jenny would repeat a quick 7-step Flamenco pattern in 1-second bursts, while Cristian would sing "whoa!"--and alternation between the two could be very musically pleasing. Geraldine would isolate chunks of her stories for staccato delivery: "it was!" "the best!" "thing I'd!" "ever!" "seen!" to allow for musical play with the sound of her voice.
Social Implications:
Audience members who “get” the performance inform the newly-arrived, affording them a sense of inclusion and identification both with the piece and with the other viewers.
Some audience members choose not to participate, but watch the performance. Others pay more attention to the board operator. Some watch the performance, the operator, and other audience members. Some wander past without stopping.
The performance was constructed with the space as a primary consideration. Our vault at Shunt was near the main entrance and opened straight onto the main hall. Thus it was important to not have a huge clot of people blocking up the corridor for two hours a night. Rather than building a performance that would keep audience members attentive for an hour, then, I rotated the performers and their actions every 10 minutes, and did not ensure that performances suggested a through-line or theme. The show changed completely every 10 minutes. This kept the actors fresh and kept the audience moving--some would think the show was over when they rotated (though clued-in audience members would frequently inform those who were beginning to applaud or leave that this was not so, keeping them there) and others would simply no longer be able to engage with the piece once the content they had created changed. By changing the content I was able to keep the hallway passable without causing people to feel rushed, shoved, or unwelcome. I found this movement felt organic, and, as this was not a content-driven but form-driven piece, there was no need to keep people around after they'd gotten their fill.
Quick Audience Chats:
Individuals and groups who have enjoyed controlling the board have included:
Musicians
Dancers
Technicians
Writers
Photographers
Djs/Track Samplers
A string quartet spent a full ten minutes with the piece, conducting all components like an orchestra and dancing around.
A rapper and his girlfriend spent over five minutes carefully mixing Spanish and Italian voices into pleasing rhythms.
A group of photographers spent twenty minutes poised to the side of the board, snapping away as other audience members created light looks.
A dancer spent five minutes on the board, aligning a dancer and a singer into harmony.
“Clap, Clown! This is the best thing I've ever seen!” (drunken city boy with a bourbon and coke)
An off-duty Shunt lighting technician spent several quiet minutes arranging voices and stories to create relationships between the performers. “See, I tried these two together (slides up an aggressive-looking seated man and a hopeful-looking woman leaning against an alcove) but I couldn't see why she would want him, he looks like such a jerk. But these two together (brings up a guitarist happily tapping on his instrument and whistling, and hopeful woman) seem to be each other's...brains, you know? And these two (brings up aggressive man and a woman dancing around and blowing a whistle) have something in common, but I'm not sure what it is. Maybe he's watching her, and puffing his chest up to try and get her attention?”
Options for Development:
Right now, Licht is a demonstration and an opening discussion for a performance platform. I'm actively seeking writers to develop themes and characters who may all relate to one another, an event, or a concept who would be interested to adapt their story or outline to a Licht interface. I believe it is possible to rotate performers to create distinct, engaging, and themed scenes.
I have also considered offering the interface to composers and musical troupes, both for exploration and for performance. It works well with music, and is less ethically dubious—musicians are used to following a conductor, and know that their adherence to the dynamics and timing of the conductor benefit the piece as a whole. The same is true for dancers and singers.
If you give the audience the power to affect the piece, are you compromising your own artistic integrity?
Are you making your actors vulnerable to harassment and manipulation?
:All performers should be mentally and emotionally prepared to be jolted around a bit by audiences, particularly people who have never had an opportunity to touch a light board before and people who are trying to learn how to operate the piece. That is not to say the actor is not empowered. The actor is never put into a position where he is made to do anything he would rather not. He sets his limits himself, and no amount of jerking or jolting will cause him to modify his behaviour beyond that which he has established for himself to do. Claudio will only run as fast as he feels comfortable and can sustain for the duration of his rotation. While he is expected to consistently perform according to his lighting, he sets his own energy limits according to his ability at the time.
Performance Implications
If the performers must change their intensity or emotion according to the light provided, can there be honesty or truthful energy?
: if the performer considers his light to be another performer, then his energy can reflect its changes in an honest way. Likewise, if he likens it to a musical swell or scenic change, he may feel compelled to change to match it simply by the true energy relationship he has with it.
Human Element:
The relationship between actor and light is not always precise:
They determine their performance energy according to how much light they believe they have.
Their estimate of light intensity is affected by other light intensities—both of the phases provided to them earlier and of the intensity being offered to other performers.
The intensity of their performance is affected by their own personal energy level, their engagement with the action performed, the amount they trust the audience, and their attention to concurrent performances.
While precision could be maintained with a computerized system—volume or robotic movement controlled directly by the light board—not only has this already been done, but it is not performance. It is kinetic sculpture. Licht is an interface—a challenge to both performer and board operator to both be actively engaged in the energy exchange.
Performers found that they began to get a feel for operators, and found ways of adapting to particular lighting rhythms and patterns. Operators who tended to mix the performances in high-speed, rhythmic ways were frequently pleased to discover that actors would repeat a short noise or movement until they were confident they had time to continue in a meaningful way. For instance, Jenny would repeat a quick 7-step Flamenco pattern in 1-second bursts, while Cristian would sing "whoa!"--and alternation between the two could be very musically pleasing. Geraldine would isolate chunks of her stories for staccato delivery: "it was!" "the best!" "thing I'd!" "ever!" "seen!" to allow for musical play with the sound of her voice.
Social Implications:
Audience members who “get” the performance inform the newly-arrived, affording them a sense of inclusion and identification both with the piece and with the other viewers.
Some audience members choose not to participate, but watch the performance. Others pay more attention to the board operator. Some watch the performance, the operator, and other audience members. Some wander past without stopping.
The performance was constructed with the space as a primary consideration. Our vault at Shunt was near the main entrance and opened straight onto the main hall. Thus it was important to not have a huge clot of people blocking up the corridor for two hours a night. Rather than building a performance that would keep audience members attentive for an hour, then, I rotated the performers and their actions every 10 minutes, and did not ensure that performances suggested a through-line or theme. The show changed completely every 10 minutes. This kept the actors fresh and kept the audience moving--some would think the show was over when they rotated (though clued-in audience members would frequently inform those who were beginning to applaud or leave that this was not so, keeping them there) and others would simply no longer be able to engage with the piece once the content they had created changed. By changing the content I was able to keep the hallway passable without causing people to feel rushed, shoved, or unwelcome. I found this movement felt organic, and, as this was not a content-driven but form-driven piece, there was no need to keep people around after they'd gotten their fill.
Quick Audience Chats:
Individuals and groups who have enjoyed controlling the board have included:
Musicians
Dancers
Technicians
Writers
Photographers
Djs/Track Samplers
A string quartet spent a full ten minutes with the piece, conducting all components like an orchestra and dancing around.
A rapper and his girlfriend spent over five minutes carefully mixing Spanish and Italian voices into pleasing rhythms.
A group of photographers spent twenty minutes poised to the side of the board, snapping away as other audience members created light looks.
A dancer spent five minutes on the board, aligning a dancer and a singer into harmony.
“Clap, Clown! This is the best thing I've ever seen!” (drunken city boy with a bourbon and coke)
An off-duty Shunt lighting technician spent several quiet minutes arranging voices and stories to create relationships between the performers. “See, I tried these two together (slides up an aggressive-looking seated man and a hopeful-looking woman leaning against an alcove) but I couldn't see why she would want him, he looks like such a jerk. But these two together (brings up a guitarist happily tapping on his instrument and whistling, and hopeful woman) seem to be each other's...brains, you know? And these two (brings up aggressive man and a woman dancing around and blowing a whistle) have something in common, but I'm not sure what it is. Maybe he's watching her, and puffing his chest up to try and get her attention?”
Options for Development:
Right now, Licht is a demonstration and an opening discussion for a performance platform. I'm actively seeking writers to develop themes and characters who may all relate to one another, an event, or a concept who would be interested to adapt their story or outline to a Licht interface. I believe it is possible to rotate performers to create distinct, engaging, and themed scenes.
I have also considered offering the interface to composers and musical troupes, both for exploration and for performance. It works well with music, and is less ethically dubious—musicians are used to following a conductor, and know that their adherence to the dynamics and timing of the conductor benefit the piece as a whole. The same is true for dancers and singers.
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