– How would you stage Ionesco’s Rhinoceros ? Our 3 staging ideas rely on how to interpret and represent the rhinoceros.
1. Absent to the eye, present to the ear. Everytime someone turns into a rhino, the person leaves the stage. In the end Berenger is left all alone and the rhinos come back through sound effects, surrounding the audience.
3. “Naturalistic” rhinos. The actors would actually turn into rhinos with costumes and start behaving like animals while altering the environment, turning it into a jungle by adding setting elements.
2. Symbolized rhinos. The rhinos would be represented by suppressing the actors’ ability to communicate with the non-rhino actors. Their voices would be altered through a microphone, turning their words into gibberish or animal sounds.
Pushing further : the vocal rhino
First, we asked ourselves some questions :
- what portion of the story do we tell ?
- what is the position of the audience ?
- what is the timeline of the performance ?
- what do we say to the actors ?
- what is the system ? game / performance / a play / an impro
Then we focused on the fact that what we want to show with this voice-altered-rhino is people that cannot communicate anymore, so we thought of adapting Ionesco’s play to a family diner where at some point people would start to fight (one of them asks for a veggie option for the Christmas diner) and not be able to communicate anymore. We thought of the following elements to structure the performance :
- Actors establish their characters and the family tree
- Put a glass as fourth wall –> they are in cage
- Begin with the jungle/savannah sounds –> organise the sound in space
- Be careful not to demonised the rhino
- Create a crescendo of the rhino sounds
- The actors don’t know what the audience hears –> other elements than the voices can be altered too
- Sound and sight are disconnected (for example : if someone smashes a plate, the audience could hear a car crashing)
The main issue is sound
First part: Visit-ours
A tour of the Manufacture following bears
First: a bear appears on the glasses of the corridor of the entrance.
Second: we enter in the livingroom and see a teddy bear on a remote controlled car. He goes to the audience saying “give me a hug.” (in loop).Then there are more and more teddy bears on cars.
Trid: The audience go upstairs. In the stairs there are lots teddy bears crying like real bears.
Fourth: adience enter in the studio. A member of the audience sees his shadow on a wall. The shadow become a bear. And goes out of the room.
Fifth: Some bear’s shadows are flotting in the space, and then in all the manfacture.
NB: all the security exit are modificated: there is a bear running after the man.
Second part: Be(ar)comming
(we choose a particular part: the shadow one)
We have 5 different ways to create a bear shadow:
- We use 2 lights on the two sides of a screen. A performer stay in front of one, and with the other we project a bear’s shadow (with a small reproduction). So the effect is that the performer’s shadow is eaten by the bear’s shadow.
- The same that the first process but we use a beamer’s projection on the back of the screen.
- We use the shadow effect on a black screen. We project a bear’s form with a white light. So we have a lightning bear in stead of the performer’s shadow.
- We put a light and a glass in front of it, the a screen in front, and a performer between. We add in the glass some bear elements, in order to add thm to the performer’s shadow.
- We put a beamer and a camera in front of a screen and between them a performer. we use a software to map and modificate the shadow of the performer. Then we shut it down and project the video of an indipendent bear’s shadow.
Here you will find our 3 stage propositions.
1. Tinkerbells need some help, do you want to find a way to help them?
2. Like if you believe
3. Let me tell you a story, just follow my voice. You will see that I am right.
Summary of the project work on the 3th october:
We decided that we would try to concrete our first idea that is the immersive cube. It was -for us- the most technically challenging proposal and we wanted to experience new technology in the Andrew’s workshop. We decided to focus on the touch sense because we thought it wasn’t oftenly possible with digital art. We wanted to make the audience use their body and be confused by the boundaries between humans and projections.