Sensory Deprivation

We undertook a task where we wanted to restrict people from their senses. In today’s society we can use technology to predict many things like for example: the weather. We use devices to predict the future weather as well as using it to tell us what the current weather outside is, rather than simply experiencing it ourselves. The worldwide wed offers “representations of cultural memory” ((Peter Matussek (2012): ‘Memory Theatre in the Digital Age’, Performance Research: A Journal of the Performing Arts, 17:3, 8-15.)), not the actual real thing. “Essences of London” by Curious looked at the connection between smell and memories to create an intimate performance. Helen Paris stated they were interested in looking at “What is going on in the brain that makes this incredible connection between smell and memory and emotion” ((Curious presents Essences of London A portrait of the city navigated by the sense of smell. 2004 [DVD] London: Curious Production.)), how smell (senses) trigger memories and emotions.

In their performance they used smells like perfume and food as they spoke of memories they had about the smells (however on the DVD they can’t portray the smell… a type of sensory deprivation is achieve without intention). The words they used were very descriptive which also used the sense of hearing. But what about taking it away? So we were able to do the opposite of Curious and stop the audience from experiencing the sensory emotions. In a way, through depriving our audience of the experience of outside and instead allowing them to experience a representation of it (through written words and onomatopoeia), we take away their senses; stopping an emotional attachment being formed between them and the outside world.

This links back to the Grandstand as it has been voiceless and unused for its original purpose for many years. We tested out how the audience felt to this type of sensory deprivation in order to gain knowledge for ways of expressing how the grandstand might feel. The personification we are giving to the Grandstand through our restoration piece shows how community driven it once was and how the passion and spirit the grandstand once had, has now been lost; creating a lifeless, hollow, ghostly shell of the building that once stood there.

 

Proxemics: ‘Taking a peek at the Women of War’

During the last session at the site, the Women of War group decided to alter the proxemics of the audience to the performers. Since our piece is set in the kitchen/washroom and has limited space, the group decided it would be more appropriate to keep the audience partitioned from the acting space. We recently visited The Museum of Lincolnshire Life, inspiring the idea of an audience viewing our piece as a form of an exhibition, which will create a different experience for the audience, as opposed to the rest of the performance. Furthermore, the journey that the audience will take through the site is largely participatory and the audience are controlled by a narrative. However, our piece is now designed to be seen ‘in passing’, and cordoned off by twine, to resemble a museum display. Mike Pearson states:

Both proxemics, interpersonal distances from performer to performer and performer to spectator, and haptics, the touch of self and other, may become part of the expressive repertoire of performers and of the dramaturgical fabric of performance ((Pearson, Mike (2010) Site-Specific Performance, Basingstoke: Palgrave Macmillan.)).

In reflection of Pearson, the Women of War group have recognised the effectiveness of framing the piece, by only allowing the audience in the alcove entrance of the room. Therefore, this creates either a highly intimate viewing point, if there is a large audience watching at the same time, or contrastingly, an isolated, reflective space for a single audience member. The literal framing of our piece also emphasises our cloth installation as a “theatrical vignette” ((Pinchbeck, Michael (2013) ‘Safe Bet’, seminar, Site- Specific Performance, Lincoln: University of Lincoln, 17 April.)), as apposed to the view during the journey of the performance, where it hangs above their heads. Instead, the installation in the framed ‘exhibition’ space can be viewed much more intimately, and its connection to our factory scene can be recognised.

Repairs

“Cities are multitemporal. The remains of the past are all around us: architecture survives” ((Pearson, Mike and Michael Shanks (2001) Theatre/ Archaeology, London and New York: Routledge.)).

The Grand Stand is in a rundown condition. The stand was last used for its original purpose in 1964 when it closed down and moved to Doncaster; the stand has remained, however the purpose has changed. Some “buildings are repaired, their function changes: a chapel becomes a disco. Their identity is unstable” ((Pearson, Mike and Michael Shanks (2001) Theatre/ Archaeology, London and New York: Routledge.)). With our project we are trying to restore the plotting of the two other stands: the real Grandstand and the Silver Ring stand, as well as reflecting on its past to create ideas for what it could become.

There are an infinite amount of possibilities of what might be; the grandstand has a limitless amount of future potential. We want to re-plot the other two original stands from 1896, when they were first built. This restoration project shows how “cities are multitemporal. The remains of the past are all around us: architecture survives” ((Pearson, Mike and Michael Shanks (2001) Theatre/ Archaeology, London and New York: Routledge.)). Bernard Tschumi sees architecture as “the combination of spaces, events and movements” ((Turner, Cathy (2010) “Mis-Guidance and Spatial Planning: Dramaturgies of Public Space” Contemporary Theatre Review, Vol. 20(2), PP. 149–161.)). By recreating the plots for the other two stands we are able to re-imagine the events that took place within the space. This shows how the memories of the walls were lost to history – after they had been demolished, the memories that once resided in that place are merely ghosts. To recreate the stands we will be using horse hair twine, this incorporates horses of which have played a major part in the races and are still a prominent feature on the West Common in Lincoln. The idea to recreate all three stands came about after seeing a picture from back when the races were happening.

grandstand

The picture shows (from left to right) what we call currently the grandstand which is in fact called Tattersall’s Stand, then the actual Grandstand and finally the Silver Ring Stand. We wanted to recreate the size of the stands to put it into perspective for the audience to see how big the structures were but also the importance the race course had within the city. Perhaps by seeing the scale it would show the audience how much has been lost by the demolition and the impact it had on society after it was so busy and animated to now: lifeless.

WP_20130213_021

As we take the audience on a journey which ends at our construction of stands, we will be entwining the history to the site in order to create a future for the Grand Stand. Similar to Reckless Sleepers project ‘The Last Supper’ which they created in 2003 where they invited an audience to dine with them whilst they told “and then eat the last words of… criminals… thirteen of these are last suppers” ((Reckless Sleepers, 2013. The Last Supper. [online] Available at: <http://www.reckless-sleepers.co.uk/project.php?id=7> [Accessed 21 April 2013 ].)); we have taken ideas from people in the community as to what they think could become of the Grand Stand.

last supper big1 ((The Reckless Sleepers, 2013. The Last Supper. [picture] Avaliable at: <http://www.reckless-sleepers.co.uk/project.php?id=7> [Accessed: 13th May 2013]))

What Reckless Sleepers achieved from bringing back memories of criminals who were on death row and giving back their voices or requests. We have re-created this by allowing the audience to give us feedback for future uses of the stand and then taking the other two plotted stands into the city and so that the whole city can see the suggestions of people in the community. We want to incorporate these suggestions with the plotted stands made from twine – this links the past, present and future of the Grand Stand. During the performance we invite the audience around the Weighing room and outside to look around, learn some of its historical context and then make an informed decision as to what they believe the Grand Stand could become. While the audience thinks about what they have seen they will be able to walk around our map where we will be securing other people’s contributions to the twine. For these ideas to be written on we have acquired betting slips. This not only ties in with the gambling which happened at the race course but also the uncertainty of the future which is like a bet in the sense that the outcome is uncertain.

“Is That Even In Lincoln?”

As part of our restoration site-specific project we have recently finished collecting information and now have the oportunitity to anaylise what we’ve found. After spending a few weeks in Lincoln town centre asking people to answer a quick questionnaire we collated all the data we took. We showed 200 people two photgraphs, one of the Grandstand, Tattershall and Silver Ring stands in the early 20th century whilst a race event was happening, and one of the remaining stand today.  Inspiration for this was drawn from a project carried out by John Newling called Make a Piano in Spain.  In this project Newling asked 500 people “What do you do to make yourself feel better?”, he then sought out to transform these responses, gathering qualitative data.  This is similar to what we have done below, although we asked 200 people rather than 500.  The title of the project Make a Piano in Spain, was actually someone’s response to the question he asked, likewise we had a response to our question, “Is that even in Lincoln?” which has inspired the title of this blog post.

 

old stand3006598

 

We then asked the question, Do you know where this is?

Do you know where this is

 

These five answers were the responses we found. As you can see over half of the people asked could not place this stand in Lincoln as we recieved the “I don’t know” answer from 78 people and “Is that even in Lincoln?” from 30. This in itself is quite alerting information, as you have read from previous blog posts on this site, the Grandstand’s history holds great significance in Lincoln’s past. This then may fuel the interest in our group project as we all immerse ourselves in the history of both the city and the Grandstand. Using this information we can identify that the majority of our audience may know nothing about the grandstand or it’s past. This allows our projects to contain an educational and informative element when we present them to the audience.   Another response that gives prominence to this argument would be that 35 people thought the grandstand is “On the golf course”.  Thinking the building to be part of the golf course would imply that it holds little significance other than to upgrade the aesthetic of the course to it’s users.  The Project as a whole can draw confidence from this information, the grandstand at present holds little demand from the city of Lincoln, so drawing on its past importance and getting the public to contribute to the idea pool for it’s future, may help the building see heights of activity that it was used to 60 years ago.

Next we informed those who had agreed to answer our questions on the high street what it was we had planned, explaining:

“The Grandstand held three day racing meets three times a year for almost 160 years.  During World War I the stands, and the surrounding common, were used as an airbase for the Royal Air Force.   As you can see in the two photos, the grandstand pavilions were demolished down to one stand in the 1960’s because the Lincolnshire handicap moved to Doncaster.  We are creating a project which regenerates these other two stands, hoping that by engaging an audience in the busy past of the buildings, we can change the dormant nature of the stand now into a place people often visit once again”. 

After a short explanation of what our site specific performance entailed, we asked our volunteers a second question: What do you think the Grandstand should be used for now?

What now

The biggest response here involved, in some way or form, returning horse racing events to the Lincoln west common, rather than at the showground where some races are carried out currently.  This was suggested by 62 people, many of whom mentioned that it may bring a great deal of income into the city and boost the local economy.  On the 24th March 1903 a record number of 7700 tickets were sold each day during the race meeting, ticket buyers coming from all over the country, tourists that no doubt contributed greatly to Lincoln’s economy that particular weekend. Sadly the second most frequent response was a call to have the stand demolished, with 37 people suggesting that there was no point having a building lying around doing nothing for the city.  Although their want to cut out inefficiency is justified, again the question of lack of knowledge around the grandstand arises.  I think back to how extensive my research was to find out the basic happenings of the building.  Compare this difficulty to the ease of learning anything about the Lincoln Cathedral or Castle, two buildings that you would struggle to find anyone in favor of demolishing.  This leads nicely to another favored suggestion, turning the stand into a museum in itself.  Making the information of the grandstand’s impressive history easily accessible would aid the local population to agreeing with our project’s intentions.  Again the five most reoccurring suggestions have been represented, the “Other Suggestions” segment contained ideas such as: An outdoor cinema, swimming pool, mosque, football pitch, marketplace, shopping mall, park and ride station, zoo, war memorial and a nightclub.

Place your bets please.

‘Performance can illuminate the historically and culturally diverse ways in which a particular landscape has been made, used, reused and interpreted; and help make sense of the multiplicity of meanings that resonate from it’ ((Pearson, M. (2011) Why Performance? http://blackboard.lincoln.ac.uk/webapps/portal/frameset.jsp?tab_tab_group_id=_2_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_67088_1%26url%3D))
The Grandstand contains many histories and potential histories, some of which are being explored by the other groups within our site-specific performance. Each piece transitions smoothly into the next with the audience being taken on a guided tour of the Grandstand, intertwining the different histories to shine a new light on this forgotten gateway to Lincoln. This is similar to the aims of theatre company Talking Birds, who’s site-specific and site responsive works use ‘places which have interesting features, histories and former uses… which are on the brink of slipping from living memory’ ((Talking Birds, (2013) Site-specific and site-responsive works. Online: http://www.talkingbirds.co.uk/pages/sitespecific.asp)) We want to reawaken the memory of the Grandstand, and to stop it from becoming forgotten.

My group has decided to focus on the Grandstand’s most prominent and well known history of being a venue for horse-racing. In previous sessions and rehearsals we have experimented with covering the walls and also ourselves in newspaper, making pages from the ‘Racing Post’ the most obvious, and then also reciting the poem ‘the horse that I am riding’. These ideas are working really well, but take a lot of time to set up and prepare. So it is now time to focus on making our piece more of a journey, and to look more at the theme of betting and loss as this was where our idea initially developed from. The original idea was to have post-it notes covering our mouths and silently rip them off and drop them on the floor replicating the notion of discarded betting tickets. This is something we want to bring back into our piece, so we managed to get hundreds of used betting slips and use this idea of littering them on the floor. As we ‘discard’ them we walk around the audience (who are stood within a drawn out box on the floor) reciting names of horses with betting odds, therefore introducing the theme of betting and gambling, which as quoted from the William Hill website is “ingrained in our culture.” ((William Hill (2013) History, Online: http://www.williamhillplc.com/media/history.aspx)) Everywhere we look now there are adverts for gambling, betting and online casinos. It has become completely socially acceptable in our culture today, compared to what it was like around 100 years ago where “most gambling was done behind closed doors” ((William Hill (2013) History, Online: http://www.williamhillplc.com/media/history.aspx)) We each picked two or three names of horses from out of the Racing Post, so that we were using real horse names- I chose ‘Midnight Whisper’, ‘One night Only’ and ‘Charlie Bucket’. The reciting then becomes quicker and quicker and more chaotic, replicating the chaos and excitement that there would have been during the races in the past. Then we fall silent, and all that is left is the litter of losing betting tickets, which have been discarded, abandoned and forgotten.

During the entire performance we are planning on having a projection of the first ever moving horse film by Eadweard Muybridge, projected into an alcove that we are not currently using. This film will be on a loop and will be in silence. However at one stage of our performance, we all line up in front of the projection with copies of the racing post under our arms, as if we were queuing up to place bets. In rehearsal we started to make tapping noises with our feet, and realised that this sounded like the noise of horse hooves when trotting on hard ground. So we worked more to further emphasise this.