AUDIENCE INTERACTION

 

Re-Wilding

AUDIENCE INTERACTION

 

 

 

Public Engagement:

 

INVITATION and EXPERIENCE:

As travelers pass through the busy hub of Port Authority, they will be invited to step into a simulated nature environment - an installation of music, dance, video projection, sculpture and organic materials. They are encouraged to stop and breathe, listen to the soothing music and nature sounds, watch the slow motion movement of the dancers and to engage with an interactive sensory station – feel the textures of organic materials – to run their fingers through sand, be gently misted by water, to smell the earth and moss.

 

INQUIRY and RESPONSE:

We will invite them to share their experience by describing how it TRANSFORMS them – how it makes them feel different than before. Also to describe their favorite nature environment and how it makes them feel. They can write, draw or record their responses and upload them to a database.

 

ACTION and COMMITMENT:

Partnering environmental organizations will provide resources. Representatives will be available to talk about methods of protecting our nature environments, discuss realistic, sustainable individual goals and offer their own local community programs (for NYC residents) plus information about partners in other locations (for visitors).

Cilla Vee Life Arts will request participants contact information so we can stay in touch and encourage their progress.

 

 

 

 

In Practical Terms:

 

AUDIENCE INTERACTION STATION

 

Behind the plexiglas barrier on the viewer’s right there is a table set up with the following:

 

 

The Audience Interaction Station has 2 themes:

 

1) Sensory Nature Station

+ Sensory nature objects to closely obvserve, touch, feel, smell, create sound with:

(sand, earth, moss, bark, flowers, water, rocks, sticks etc)

 

 

2) Creative Feedback Station

+ Paper, drawing and writing supplies will be provided.

+ A QR code will be posted for sharing pictures and videos.

 

+ Prompts will be given for the following interactions:

 

* What are you experiencing?

 - What do you see, hear, smell, touch?      

- Describe the sensory nature objects, the installation, the performance.

 

* How does it TRANSFORM you?

- Describe how it makes you feel different than before.

 

* What is your favorite kind of nature environment?

- Do you have a favorite nature spot? – Where?

- How does it make you feel to be there?

 

* Are you concerned about our nature environments?

- How do you feel about pollution and climate change?

- What do you think can be done about it?

 

PLEASE DRAW, WRITE, PHOTOGRAPH, MAKE A VIDEO

SHARE IT WITH US THRU THIS QR CODE:

 

 

 

ENVIRONMENTAL PARTNERS

 

Our environmental partner organizations will have a table set up directly outside the performance area in between the two viewing openings.

 

They will engage audience members with information about their programming and activities. As well as advice on individual activism.

 

 

PERFORMANCE

 

Re-Wilding

PERFORMANCE

 

 

 

Performance Philosophy and Aesthetic

 

+ On a philosophical level, the RAW MATERIAL project approaches concepts of transformation, metamorphosis and transcendence through the relationship of the raw materials of the Self with the raw materials of Nature. Drawing on mythological themes of the transformation of human-body to nature-body, as presented in Ovid’s Metamorphoses where humans transcend their mortal form in order to escape trauma and find sanctuary in nature (eg. Daphne-tree, Syrinx-water), RAW MATERIAL: Re-Wilding The Body is a performance installation that offers the raw materials of an organic environment as a place of refuge, healing and recovery.

 

 

 

+ Aesthetically, the objective of the performance is to MELD with the environment. Not as a human-being in response to nature, but as a nature-being existing in time and space as part of its environment.

 

CillaVee - Restoration video piece – concept of transformation from human-body to nature-body:

https://youtu.be/VllqRpyPv4s

PERFORMANCE METHODS

 

+ Motion Sculpture

The principle performance form will be that of Motion Sculpture – a dance/movement method developed by CillaVee that is sustainable for extended periods of time. Combining concepts of the body as a living sculpture with philosophies of movement as meditation, this practice is used for durational performance as a form of installation.

 

Motion Sculpture promotional video:

https://youtu.be/7lAV6AzRPgk

 

 

 

+ Extended Music and Sound Techniques

Live sound will be vocal and acoustic instrumental. All instruments/sound-making objects will be built of natural materials as much as is possible. All music will use extended non-traditional techniques to be in-keeping with the organic nature environment.

 

Examples of natural instruments and non-traditional music techniques:

 

CillaVee: vocal sounds (mix)

https://on.soundcloud.com/quH8Y

Cheryl E Leonard:

https://allwaysnorth.com/

Natural instruments:

https://meteoritesound.com/natural-musical-instruments/

 

 

 

 

PERFORMANCE PREPARATION

 

Some guidance for rehearsal based on my Living Art performance pedagogy and drawing on my RAW MATERIAL modes of inquiry.

Continue to work within the context of Motion Sculpture movement

– gradual and incremental with long moments of stillness.

 

 

 

+ The following explorations are from my MFA Living Art pedagogy development project: The Performance Anxiety Workshop Project:

 

BREATH

Look at TOP RIGHT exercise “BREATH” – Read PDF guide – See video:

https://claireebarratt.wixsite.com/performanceanxiety/body-tuning-1

 

TRANSFER of WEIGHT and SHAPE

Look at LEFT exercise “TRANSFER OF WEIGHT” and BOTTOM RIGHT exercise “SHAPE” – Read PDF guides – See videos:

https://claireebarratt.wixsite.com/performanceanxiety/body-tuning-2

 

ENVIRONMENTAL RESPONSE

Read PDF guides for “Atmosphere” and “Installation”:

https://claireebarratt.wixsite.com/performanceanxiety/environment-1

Read PDF guides for “Camouflage/Contrast” and “Contours”:

https://claireebarratt.wixsite.com/performanceanxiety/environment-2

 

 

 

+ The following is a year-long journal of embodied interactions with the raw materials of nature in different global environments at different seasons. It serves as the groundwork for my RAW MATERIAL mode of inquiry:

RAW MATERIAL JOURNAL:

http://raw-material-journal.blogspot.com/2015/11/raw-material-project-chronology.html

 

Some quick links to sample bits of the project:

Sand: https://youtu.be/SbeIKFfD-A0

Haybale: https://www.flickr.com/photos/114531261@N02/albums/72157659355066042

Driftwood Beach: https://youtu.be/ecsGYxb6UvU

Jas-mine Hands: https://youtu.be/D9Rw-r9Q7dM

 

 

RAW MATERIAL: EARTHDAY was a 12-hour durational community installation in Asheville NC … A kind of rough version of what we will be doing for Re-Wilding:

http://raw-material-journal.blogspot.com/2016/05/raw-material-earthday.html

 

 

 

COSTUME and MAKE-UP

Re-Wilding

COSTUME & MAKE-UP

 

 

 

There will be a communal pool of SOME costume and make-up items –

However it will be best for each performer to create costume pieces as part of your preparation and development process.

The shapes, textures and colors of the costume pieces, hair and make-up will influence your performance and should be part of your process. Explore what works for you.

 

Each performer is free to create their own costumes, hair and make-up within the following parameters:

 

 

DO NOT BE A HUMAN WEARING A NATURE COSTUME

BECOME NATURE ITSELF!

 

 

+ Influences can be from a combination of nature environments+

(desert, forest, tropics, ocean, tundra, meadow, mountain, swamp etc.)

 

 

 

MATERIALS

 

 

+ Earth / Plant:

Fabrics - Raw looking and textured like earth or bark.

Smooth and leathery or leaf-like glossiness.

Cottons and linens, raw silks, burlap, soft suedes and leathers (real or faux)

Colours – greens and browns.

+ Floral – small splashes of floral colour – Flowers (real or faux) and fabrics.

 

 

 

+ Water:

Fabrics – diaphanous, floating, moving.

Colours – whites, grays, blues, greens.

Accents of silvery metallic strands (subtle)

(Note: Keep water costume performance to the Waterfall section area of the installation.)

 

 

 

+ Creature:

Influences of animal, bird, fish, insect

feathers, fur, skin, scales, shells (real or faux)

Fabrics with natural looking print – scales, stripes

 

 

 

+ Objects and Accessories:

Very RAW looking

feathers, shells, rough stones, wooden pieces, flowers

 

 

 

NO PRINTS OF ACTUAL FLORA OR FAUNA

Prints of the patterns and textures are good

– but not of an actual plant or creature

 a tiger wears stripes, not a t-shirt with a tiger on it!

 

 

 

ASSEMBLING A COSTUME

 

 

+ Some Costuming Suggestions:

 

- Base

Wear some kind of “base” or “second-skin” on top of which you can layer up and remove items easily.

(I usually use a neutral skin tone leotard or cut up some cheap tights or hose – but find what is comfortable for you)

 

- Mix & Match

Cut up a variety of the fabrics into different sizes and shapes (in-keeping with the nature material they represent) – then mix and match them to create layers – experiment with safety-pinning them onto your base layer, twisting and tying them etc.

(Note: make sure to keep some pieces large enough to cover you!)

 

- Thrift Store Mutilations

Find an item of clothing that’s your size in a thrift store and has the right texture and color.

Cut off the tailored “human clothing” looking hems and details, then shape the edges into nature shapes – such as leaves or grasses etc.

(You can also add layers and objects onto it.)

 

 

 

MAKE-UP

 

+ BODY

- Basic finger-painted textures on skin – Play with ideas.

- Earth tones – browns and greens.

- Any kind of paint that your skin is tolerant of – Make sure to test them out if you are unsure.

Most water-based paints are fine. Or theatrical greasepaints.

 

 

+ FACE

- Personally I swear by old school theatrical greasepaints!

A little goes a long way and they last for years. They don’t sweat off – or even rub off that easily.

- This is what I usually do:

* Start with a greasepaint base

* Choose just one or two main greasepaint colours - (in this case, a brown will work)

* Then layer any kind of regular make-up on top - (the greasepaints will help powders to stick and stay)

* Draw details with make-up pencils

- Have fun experimenting with nature motifs, colours and patterns.

 

 

 

HAIR

 

Again … the main point is to NOT look HUMAN!

 

+ Use the hair to hold nature objects and materials

(this should work for any length of hair besides super-short)

 

+ Here are a couple of suggestions for how to form a supportive base with the hair:

 

- Thoroughly tease the hair into a “nest”.

Natural Soap products are actually more effective than gel or mousse for this. Any 80s punk or goth will tell you … Just work a super-thick layer of soapsuds through the hair and tease the hell out of it! – Using a fairly thin-toothed comb to backcomb one section at a time.

 

- Create lots of small knots of hair.

Either soap or gel works for this – coat all hair thoroughly.

Divide hair up into several sections.

Twist each section up into a mini-bun as tight as you can make it.

Secure with rubber band or hairpins.

 

- Create lots of small ponytails / bunches all over the head.

Braids can also work – However they look more like a “human” hairstyle, so make sure to disguise them with strips of fabrics etc.

 

 

+ Now you have a strong base to attach objects to.

 

+ Some Hair Accessory Suggestions:

 

- Poke long objects such as sticks and feathers through the hair.

 

- Thread a string of small shells, rough gems or rocks through hair and tie it.

 

- Tie strips of fabrics or raw strings like twine or raffia throughout hair.

 

 

+ For short-short hair  - Treat the hair as an extension of the skin by continuing your make-up and body-paint designs up onto the scalp.

 

 

 

Enjoy exploring costume, make-up and hair as part of your creative process as you develop your

Human-being-to-Nature-being

METAMORPHOSIS!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

INSTALLATION MATERIALS

 

Re-Wilding

INSTALLATION MATERIALS

 

 

The Re-Wilding installation is a fantasy environment – a conglomerate of all nature environments composed of all types of nature materials.

 

 

VEGETATION

tree branches, bamboo, tall grasses and reeds, green plants of all kinds, moss, flowers, fruits and vegetables

 

 

MINERAL ETC

earth, mulch, sand, rocks, water

 

 

 

FABRICATED

+ fabrics and paper – raw looking textured fabrics and paper in mostly muted shades of brown and green

+ “waterfall” – sheer fabrics (organza) to simulate waterfall and act as screen for projections

+ cardboard – to use as “forest floor” and shape the space

 

 

 

SCULPTURE

natural looking sculptures made of raw materials

 

 

TARP

underneath there is a base layer of plastic tarp … not organic but necessary for protecting the floor!

 

 

TIME LINE and SCHEDULE

 

Re-Wilding

TIMELINE and SCHEDULE

 

 

 

Pre-Production:

 

JUNE

Recruit performers

Recruit environmental partnering organizations

Recruit volunteers

Plan installation details with collaborators (email, phone, zoom)

Design flier / poster / cards

Begin Fundraiser (GoFundMe)

Begin to promote

Create Press Release by end of month

 

JULY

Send out Press

Promote event (all participants)

Send project information to all performers

Schedule performer planning/rehearsal meetings (zoom)

Gather installation and costume materials

Friday 7^th 11am – CEB video call with Liza from Chashama

 

AUGUST

1^st – 6^th Schedule performer / participant meetings (zoom)

1^st – 15^th Prep all materials for load-in

7^th – 14^th Possible early load-in for certain items (arrange with Jake)

 

Production Month:

 

Tuesday15^th 4.30pm – CEB space orientation and pick up keys

Prepare space / Begin load-in

 

Wednesday 16^th, Thursday 17^th, Friday 18^th – all day and evenings:

Continue load-in / Create installation

Meetings with participants (performers, volunteers and partner orgs)

 

 

Saturday 19^th 12-8pm – Open Rehearsal Day

 

 

PUBLIC PERFORMANCE SCHEDULE

 

 

Daily – Monday thru Friday at 4-8pm

(Installation open for viewing from 3pm)

 

AUGUST

August 21, 22, 23, 24, 25, 28, 29, 30, 31,

SEPTEMBER

September 1, 4, 5, 6, 7, 8

 

PLUS FINAL PERFORMANCE Saturday September 9^th 12-8pm

 

 

Monday 11^th time TBA – Closing ceremony and 9/11 Memorial

(no public performance)

 

 

Tuesday 12^th, Wednesday 13^th, Thursday 14^th – tear down and load-out

 

 

+ + + + + + + + + + + + + + + + + + + + + + + + + + +

 

 

Post Production:

 

September 15 – December 31: Continue a dialogue with partnering environmental organizations about the project impact – discuss avenues for future improvement and advancement. / Follow-up with individual audience members to monitor and encourage their response going forward. / Compile documentation and create project website.

 

January 2024 onwards: Pursue opportunities to continue the project in different communities nationally and internationally.

 

INSTALLATION PLAN for PORT AUTHORITY

 

Re-Wilding

INSTALLATION PLAN and STRUCTURE

For PORT AUTHORITY

 

Image 1 – General Floor Plan

Waterfall Section – starts in upper right back corner

 

Clearing – open area in center

 

Forest Section – along left wall and spreading out towards front of space

 

Audience Interaction area – bottom right front barrier

 

Sound System – where to put PA so it is hidden?

 

 

 

Image 2 – Waterfall Section Details

 

Projector – mounted in upper right back corner

 

Fishing Line – strung across diagonally from corner in several rows – from Hooks in wall close to ceiling

 

Layers of sheer fabrics hanging down from fishing line – resembling water in cascades

 

Water Feature – placed in center of waterfall section

 

Projections of moving water / waterfalls / light 

 

 

Image 3 – Forest Section Details

 

Rough Wooden Shelving – natural raw looking sections of shelving at various heights – Larger units towards back – Smaller units towards front

 

Tree Branches (including Laurel and maybe Bamboo) – Various lengths and sizes – some at least 8 ft for ceiling height

 

Plants – of all kinds – various sizes – Smaller potted plants can be placed into shelving

 

Fabrics and Paper – a variety of textures – mostly muted Browns and Greens – to augment the installation and fill it out

 

Small Lights – hidden in the foliage to create interesting light and shadow play in the forest

 

Monitors / Digital Frames – with detailed nature imagery – camouflaged and embedded into the foliage 

 

 

 

Image 4 – Public Viewing and Interaction Details

Audience Viewing – from both of the rolling doorways

 

Audience Interaction Area – a table directly behind the plexiglas barrier on the right (from audience perspective)

 

Audience interaction materials:

Sensory nature items – sand, water, moss, bark, feathers etc

Audience response – paper and pens, crayons for writing and drawing – make a selfie video on your phone etc

 

One Project Poster – up on central dividing wall

 

Small table – up against central dividing wall – Information Materials about our partnering local Environmental Organizations

 

 

 

Clearing – Open Area in Center of the room (no image)

This is a flexible open area

Some performance can take place there

Nature objects and Temporary Sculptures can be constructed and deconstructed in performance

 

Other possible Lighting and Effects – water ripple projector, bouncing light off water etc