pq4 glass reflection studies in China

 

Advertising Panels in Shanghai Metro

Interesting because of layering,buildings of Shanghai as backdrop, movement in figures, embedding of motif, high reflectivity of glass also layering audience upon audience on the screen.  27 August 2010 

Shanghai Moca (Modern Of Contemporary Art)

Of interest because of the layering of reflections on the glass cladding of the building.

Further research on the use of mirror covering on the glass webs. And angled glass on the staircase.

Edit movie and insert here 

World Expo 2010 in Shanghai China 25 August 2010

Layering of reflections in glass.

Shanghai Moca Movie1

Shadowing of people due to glass webbing on exterior

Shanghai Moca Movie2

Reflections of the staircase

Story_Motif,graffiti,uprising,parkour

sound
light
atmosphere

What is the role of technology and systems?
To fill in the gaps (in history) of the story around the choreography.


The public
The audience
The technicians
The performers Stage/s, dressing rooms,etc

Tell the story through the choreography.

What is the role of technology and systems?

To fill in the gaps (history) of the story.

http://www.storyinc.co.nz/about/

Link battle/uprising with parkour.

See Crouching Tiger Hidden Dragon clip
http://www.youtube.com/watch?v=iv_ed5VmoD8
Supplement with virtual obstacles

Link motif and grafitti

http://plixi.com/p/58663846
http://www.core77.com/blog/object_culture/this_just_inbox_graffiti_vs_porcelain_14654.asp

pq performance genre

  "The play-as-text can be performed in a space, but the play-as-event belongs to the space, and makes the space perform as much as the actors perform". David Wiles.
Wiles, D. (2003). A short history of western performance space. New York: Cambridge University Press. (pg.2)


Brief


To make this beautiful eleventh century church at the crossroads perform. 

To showcase the architecture that is St Annes and its surrounds via a performance genre that is consistent with the expectations of teenagers. 

To layer historical information within a story through the incorporation of motif and reflection.

Why choose these genres?


Aerial Silk sited high in the structure encourages engagement with the impressive roof structure  and Parkour enabling the scrambling up of tall walls, around and through windows,parapets etc.  


The windows set high in the building are spectacular either as windows or doors, to be viewed through from the interior out or from the exterior in, with  platforms, scaffolds, hand holds placed to enable performance.   

 Aerial Silk  

http://www.myspace.com/dreyaweber

www.lauramorganyoga.com/aerialsilkscirque.html

Precedent Work

A fashion collection by Katti Zoob exhibited at Shanghai Moca is the impetus for considering Aerial Silk as a possible performance genre.  Visited 27 August 2010.

Zoob  draws inspiration from the likes of Hungarian Folk costume, eighteenth century poems, dresses and robes worn by the wife of the emperor of Austria, pouches from the time of the Hungarian conquest  of the Carpathian Basin, the tulip as the most ancient flower motif of the Hungarian folk art, etc.   St Anna’s and the crossroads with its long history will have a rich costume/detail/fabric/motif history parallel to this work by Zoob based on Hungarian history.

Fabric detailing,  fabric choice, motif, drapery_all imbued with a strong richness of history.

                                                                                          

            

For further research
http://www.iabsi.com/gen/public/art_and_arch.htm

 And Parkour

http://www.youtube.com/watch?v=voB6WiP83NU 

http://www.kiwiparkour.org/forums/index.php

The Tricycle Theatre

The tricycle Theatre is modelled on the Georgian Courtyard Theatre in Richmond, Yorkshire (The Theatre Royal). The Theatre Royal is a typical eighteenth-century playhouse, and keeps alive an important period of English theatre architecture. This style of playhouse offers a real intimacy with the furthrest seats being only 10.7m from the stage. The proscenium width is 4.72m wide with a depth of 6.4m to the back wall. Performers and theatre-goers are in the closest proximity. 

The Theatre Royal


In contrast to the Theatre Royal, the Tricycle Theatre is created from modern scaffolding. The design by Tim Foster and theatre consultant Iain Mackintosh was such a success that in 1987 when the theatre was gutted by fire the rebuilding recreated the original design with some added technical improvements.

 

First built in 1980, the 240 seat theatre was constructed from a standard scaffolding system based closely on the dimensions and form of the theatre royal providing a very intimate galleried courtyard space. The scaffolding structure is completed by timber floor decks and canvas balustrade panels.

In 2006 the theatre received a special award for its pioneering political work. It offers a wide ranging programme of performances and workshops for children, and sponsors a thriving youth theatre.