Penthesilea

For our sensory score project, we were given a script that described a city and were tasked to create an experience from that script.

Penthesilea Explores the darkness of a city that envisions a sense of entrapment for the main character, after reading the script this part makes me feel like there’s no way out of the city “Where is Penthesilea?” they make a broad gesture which may mean “Here,” or else “Farther on,” or “All around you,” or even “In the opposite direction.” “I mean the city,” you ask, insistently. “We come here every morning to work,” someone answers, while others say, “We come back here at night to sleep.” “But the city where people live?” you ask. “It must be that way,” they say, and some raise their arms obliquely toward an aggregation of opaque polyhedrons on the horizon, while others indicate, behind you, the specter of other spires. “Then I’ve gone past it without realising it?” “No, try going on straight ahead.”

 

In order to replicate an experience that empowered the notion of entrapment we had to first read the script and highlight words that would create the experience that we wanted by turning them into sound effects. The words that we highlighted are below:

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The main senses in humans are Sight (opthlamoception), hearing (audioception), taste(gustacopetion), smell (olfacoception or olfacception), and touch (tactioception) (Pediaopolis, 2015) but a Austrian philosopher, Rudolf Steiner proposed that that there are twelve different senses in total and divided them into  three categories, “those that are physical – the senses of touch, life, movement and balance; those that are psychological – smell, taste, sight and tempera- ture and those that are spiritual or social – hearing, speech, thought and the sense of ego” (Kruger, 2006). For the purpose of this performance we will be focusing mainly on sight, smell and touch, we wanted to explore if a sense would get enhanced if you took another away.

As the reading we were given was very dark and gave the feeling of entrapment we wanted to integrate this into the performance as the main character can’t escape the city, we did this by blindfolding the participants taking away their sight and leading them to a dark room where we then tied them together with a rope to implicate the feeling of entrapment and claustrophobia. To further enforce the feeling of entrapment we put a sheet over the head of the participants and lowered it over them so they had nowhere to go, as well as this we tied a rope around them.

For the other senses (smell and hearing) we wanted to recreate the smells that were portrayed in the reading, “swamps” “mangy fields” we achieved this by taking a old sheet and putting it in a compost bin and then laying it on the floor of the room. We also produced a sound track that was played during the performance that included sounds from the reading such as “a carnival Ferris wheel” and have incorporated different pitches that not everyone would hear.

An artist that has explored senses in her project is Lygia clark, more specifically her Breathe with Me performance which is an interactive space that explores the intersections between art, therapeutic practice, and the ways in which we relate to objects and people through physical encounters.

Improvements:

.To factor in the amount of time it takes for walking through the corridor to the area we set up as we found out that people struggled to turn on the sound  clip once blindfolded.

. To tell people what happens in the piece so that they know what is going to happen to them and won’t feel uncomfortable

References

Kruger, T. (2006) English language. doi: 10.1386/tear.4.3.183/1. Technoetic Arts:Journal of Speculative Research. Vol. 4, No. 3: 183. [Online] Available from: https://dle.plymouth.ac.uk/pluginfile.php/625371/mod_resource/content/0/Kruger%2C%20T.%2C%20%282006%29%20Nonsense.pdf [accessed 15 December 2016]

Pediaopolis, W. (2015) The 5 Senses. [Online] Available from: http://udel.edu/~bcarey/ART307/project1_4b/ [accessed 15 December 2016]

 

 

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