Re:play is about relationships. Relationships between different people within the space. This relationship starts and evolves through the course of the performance. Facilitated by the performers, Re:play explores relationships between two people, between the performers and the audience, between the members of the audience and the relationship one encounters with themselves.
The design of the performance facilitates an intimate spatial construct, where the performers can story tell, eye to eye. This makes the environment more personal and enables audiences to do more than just watch a performance.
Viewpoints of space and time were the first considerations in devising Re-play. Topography, using floor patterns, helped in exploring both geometric as well as organic design possibilities. Moving through the space in patterns of the board games guided spatial design and construction. This helped in gauging the size and shape of the space, influencing the artistic process critically. The concept of intimacy in spatial design emerged here, making the performance immersive in nature, by creating a shared space. The breaking down of the proscenium having occurred early on in the process demanded a new audience-performer relationship. Richard Schechner talks about this in the context of environmental practice, connecting notions of encounter between audience, performance and space.
The kind of work I'm talking about can't happen if one territory belongs to the audience and another to the performers. The bifurcation of space must be ended. The final exchange between performers and audience is the exchange of space, spectators as scene-makers as well as scene watchers.(Schechner in Machon 2013: 32)
Schechner explains that the exchange of stimuli - either sensory or cognitive is the root of theatre. When this exchange happens through multiple senses, in the absence of bifurcation of space, then new relationships are possible, body contact can occur and a sense of shared experience can be engendered. (Schechner 1994: xxiv) Re:play considered this in its spatial design, fostering and challenging new relationships between multiple elements in the space. Re:play's spatial design enabled audience to be seated in small groups, around the performer. The audience was also lit in the performance, which made them a part of the space.
It was then an ongoing discovery of the potential relationships that are possible between all elements in the space; objects, people, voices, textures, sounds and the combinations of these. With an element of spontaneity contained within the performance as well, new relationships, dynamic in nature were forged through the process of the performance.
The challenge was in considering the many relationships in the context of immersive theatre, where the audience is placed at the heart of the work to feel and undergo a visceral experience, to be immersed in a world whose rules are different, to be submerged in an alternate medium, where all the senses are engaged and manipulated (Machon: 2013: 22) Re:play was an experience with different rules, rules that audience members discovered through the course of the performance and rules that were flexible, which could be broken or held based on the discretion of the people within the space. In this process, people discovered each other as well.
In this blog space, we talk about performance processes, interdisciplinary practices and various ways of creating performance and engaging audiences.