Tag: Greg Sellers

When it finally came to the 3:00pm performance I thought my commitment , energy and ability to tell a storyline from the Grandstand’s history was excellent.

There were many strengths to my overall performance. Firstly, I responded to the site in question very well. I, in each of the three rotations , described how the aircraft were related to the Grandstand’s history. This link being that outside the Grandstand was the first Lincolnshire aircraft hangar. Furthermore, I remained in authority as my character very well, and this was shown in my diction and projection too. Likewise, I assisted the audience to ensure that they understood everything they needed to about the tasks I was asking them to do (eg, make a paper aeroplane). However, I , in a major weakness lost focus twice during the performance.  I found it hard to maintain my silence during greeting the audience and forgot to give some of the audience members paper to construct their aircraft. If I was to perform Safe Bet again, I would therefore concentrate on each task separately ,rather than trying to pre-empt tasks as I was doing. Part of the reason for this was that I never timed my performance. As each of the war based presentations revolved they need to last for approximately the same length of time.  In future I really should have been more aware of the time limit.

 

Copy Of The Briefing Speech In The Perfomrance 

 

 

 

 

 

  Copy Of Some Of The Names Of The Airmen Who Lost Their Lives, Read Out During The Memorial Service, Whilst

The Audience Are Flying The Aircraft            

 

Overall, I feel that the process in Site Specific Performance to make Safe Bet has been a great experience. I researched aircraft models, and information about them in Lincolnshire a great deal before developing ideas. I also created all scripts in my performance extremely carefully so that i t was always contextual and historically appropriate whilst being realistic  The drifting at the beginning of this process definitely helped me to improvise ideas  rather than rigidly fix a plan.  I changed my style of performance many times though I did settle on the theme of war early in the process. On the other hand, if I was to repeat this experience I would have researched into not only Lincolnshire aircraft but it’s impact on the Grandstand a lot earlier in the process. I would also have centred the performance on waiting more . Feedback from the performance was overall very positive but one development that was suggested, was to read out the audience’s names on the memorial list. This would literally put them into the airmen’s shoes so that they can empathise with the performance more. To conclude, I think I connected myself to the space very quickly and therefore portrayed “a variegated scene of perception and action” ((Casey, 2001 ,p18 in Pearson, 2010, p94)). I was able to  think outside the box, adapt ideas independently and engaged enthusiastically with tasks in many different sites to progress ideas. The end result was an interactive , thought provoking demonstration of a poignant site specific performance which brought the Grandstand’s voice and history alive in a modern twist.

 

 

               A Dambusters Lancaster Aircraft                 

 

                                                                  

     My Modern Day Representation Of A Dambusters  Lancaster Aircraft

 

Works Cited

Pearson, Mike  (2010)  Site Specific Performance, London: Palgrave Macmillan

 

 

                                                                                                                                                                                                                                                                                                            

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It is performance day but before we perform Safe Bet at 1:00 pm a preview of the performance will be held ,  we were told to treat this with as much professionalism and concentration as the 3:00pm performance. There would also be an audience.

Before beginning I had an issue to solve when the audience are constructing the paper aeroplanes. Instead of me demonstrating how to make them , each audience member is  given a paper aeroplane template which they should follow. Between each of the three groups  there will also be a laminated copy of the instructions. I also learnt that Jordan and I, before the introduction would welcome the audience, inviting them to sit on the Grandstand steps and wait for the performance to begin. I was also informed that, as I have already took up a lead  role in the introduction , that I should act as a tour guide, taking the audience from the ‘women at war’, to ‘Jordan’s memorial’ and then outside to the ‘Penny For Your Thoughts’ display. These activities are all connected with the theme of war so it seems logical that I can lead the audience through .

 

Paper Aeroplane Template 

 

 

 

On reflection, the preview performance went quite well. There were several strengths to this run-through. Firstly, my concentration at the start of the piece was excellent . I didn’t break character or give any information away about the piece , just remained ambiguous. My accompanying posture worked well and so did my expression. Furthermore, I projected my voice well during both the introduction and as the spectators were flying their planes. I spoke with clarity and diction , didn’t rush my speech and brought meaning into all actions. My instructions to make the paper aeroplanes were furthermore clear , and my eye contact surveyed the whole group throughout, improving my circle of attention  Finally, my attention to detail on my uniform was outstanding. It represented the period and the level of authority for my character extremely well.

 

Area Outside Of The Grandstand Where My Airmen/ Audience Members Will Stand Against When Flying Thier Aircraft 

 

 

 

There were however quite a few weaknesses to my preview performance  Firstly, the rotations of the 3 groups around each of the war activities were messy. Once I brought my first group back to the weighing room in The Grandstand, I forgot to reseat them at the back of the room, so that the representative of the ”Tank group’ would know to collect them. Therefore  not all the audience were able to participate in all the war exercises  In addition, before the introduction I occasionally made conversation to Jordan which wasn’t focused or relevant . In my performance I must instead stay on task throughout. Moreover, I stood too far forward when my aircrew were throwing their planes.. Thus, this didn’t give a poignant impression, instead sometimes seemed slapstick  messy and inappropriate  Instead, I should ensure that “traces of those who have lived and died here before, along with their ghostly handiwork” remain ((Pearson, 2010, p169)). Finally, I feel that I should have been more prepared when giving each audience member a betting slip. Some looked confused as to where to sit. In future I should gesture to what I want them to do throughout.

Overall, I know what needs to be developed for the final performance . Likewise, following the performance a slight change has been made to the format. At the end of the piece, once the audience have offered their own suggestions for the Grandstand’s future possible uses, I will lead them back to the ‘Penny For Your Thought’s group, so that they can announce the last few numbers, stopping at 9,000. Of course this highlights the fact that 9,000 Lincolnshire Men died at war. Also, when taking the audience , for the first time, to the pennies I have been asked to find the sunlight, and position the audience in this area. They are able to see all the pennies clearly and so will have more of an understanding of the process and message of the group.

Works Cited

Pearson, Mike (2010) Site Specific Performance, London: Palgrave Macmillan

During the final rehearsal for Safe Bet  my idea has developed a good deal.  I looked at the RAF debrief I had constructed and saw that the main focus of this was to fly the aircraft continuously  I thought therefore that the audience could practice flying over and over again and I didn’t want to give them another speech. As we are trying to depict the horrors of war I thought it would be a good idea to juxtapose this with something negative. I therefore had another inspection of the Dambusters book and found a list at the back of all those aircrew who had lost their lives. I have consequently decided to read these, ordering the recruits to practice flying during this. My main aim in giving the piece a memorial was to portray issues of” ownership and occupation,  individual and group identity, power, boundaries, rights of inclusion and exclusion, memory” ((Pearson, 2011, p144)).

Following this sequence, I wanted the audience to wreck their planes, just like the airmen’s lives were wrecked. My first idea was for the audience to place their planes in a burning bin for them to be engulfed by the flames. However, due to health and safety procedures this was discarded. I then thought the same effect could be given if the planes were ripped up and then scattered on the ground , like a battlefield. Though a defect in this plan came when I was reminded that I am repeating this exercise three times, therefore the new groups would already predetermine the activity before it was started, if planes are lying on the ground  The world I am presenting depicts “performance as overlapping situations: one place in two different social occasions at one time ” ((Acconci, 1996:65)). Therefore, I thought the audience members could tear their planes to pieces then drop them in a bag. Yet, during the final rehearsal , due to the windy weather the pieces blew away. Thus, I needed to take the pieces inside.

 

Forgotten Items Housed In The Grandstand, One Of These Being The Tombola Which I Have Utilised 

 

 

As the performance is centred around betting, one of the forgotten items housed in the Grandstand is a tombola. I am therefore going to ask the audience to place their scattered planes into the tombola drum . By theoretically gambling with lives , I am emphasising how poignant the situation is . Once the names are in, I will turn the tombola , as if they have become one of many forgotten many . Through the glamorisation of war, the audience will  react naturally given the sad circumstances. However, I do mention that by gathering up the remains they will never be forgotten, highlighted by the RAF motto.

During feedback, I was told that people found it hard to tear up what they had made , and gradually, as the names sink in, the audience no longer want to fly their planes. This is , in effect ” A restoration of the absent present” ((Pearson, 2010, p46)).

Works Cited

Kaye, Nick (2000) Site-Specific Art, Great Britain: Routledge

Pearson, Mike (2010) Site- Specific Performance, New York: Palgrave Macmillan

As ideas progressed in groups , the structure of the performance began to change. The performance begins with the audience being led to the main room , where me and Jordan greet them, give them betting slips and introduce them to the activities. It seemed sense after this for me to lead them to an activity , after all “The solo voice can orientate, guide,” ((Person, 2011)).   Because other groups styles were practical, I felt mine should too. To give the audience planes to fly and for them then to have to concentrate on the 9,000 pennies and speech simultaneously would be too much.  Instead, by utilising solo performance I “can play a generative role in interpretation and the creation of new ways of perceiving; animating through fiction ((Pearson, 2011)).
Another reason for converting my contribution to a solo piece is due to the layout of the performance. There would need to be a maximum of approximately 20 to enable each participant to  receive the full experience . Therefore, these practical activities will revolve so that each group can participate in each exercise. Bearing in mind that the penny for your thoughts display is a continuous piece in which the audience can place their pennies this gives me no choice but to perform my piece as a solo performance   There was also a suggestion that I could lead the audience to the ‘penny for your thoughts’ section however the tour guide instead will be one of the ‘ women at war’.

A Copy Of A Betting Slip I Will Hand Out As The Audience Enter The Grandstand 

 

Works Cited

Pearson, Mke (2011) Why Solo Perfomrance?  Online: 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

(accessed 28th April 2013)

 

 

After the introductory speech, all aircrew (audience members) must be given a debrief by me . Originally this was going to be delivered outside , along the wall next to the Penny For Your Thoughts display and original landing pad. However, this wasn’t very realistic judging the scenario so the debrief will be held inside. I next pondered for a while of where I could find a template speech . I scoured the RAF archives website , but finding only speeches delivered in ceremonies or as after dinner modern speeches , decided to look elsewhere. I , next, dipped into films of that era , including Battle of Britain, Dambusters and An Appointment In London.

 

http://www.youtube.com/watch?v=QAPOpPqA7M8   (You tube Video Of An Appiontment In London Movie)

 

These were all concerned with the air missions of this period. An Appointment In London, in particular, includes a briefing scene which could connect well to this promenade performance  The audience will be able to visualise , in my piece, “What media are employed?” and How might different orders of material be attributed to different voices or media?” ((Pearson, 2011)).

During the introduction we informed the audience that they would be testing aircraft.I therefore researched  books based on the RAF . This drew me to my then participation in Dambusters 70 : After Me The Flood , a piece commemorating the 70th anniversary of the Dambusters raids and to Max Arthur’s Damubsters. Wing Commander Guy Gibson, who assembled 617 squadron to blow up the dams , trained them on aircraft at Scampton in Lincolnshire  Dambusters reveals exactly what he said to the crew before they began their training, this is consequently what I will replicate. This speech begins “your’e here to do a special job” and ends on “Discipline is absolutely essential” ((Arthur, 2009, p25)).

I didn’t want to imitate the speech so broke this down to the topics discussed. I then recorded my views and compiled my script from these. I  will debrief the audience after the introduction .

 

 

 

 

Research Into Models Of Royal Air Force Aircraft In World War II, Lincolnshire Aircraft Manufacturers Of RAF Aircraft And Royal Air Force History 

 

 

A final decision I have come to make is to leave the planes blank. Without any design they appear lifeless , akin to the fact that those that flew the planes died. As my ideas developed I have also decided to hand out paper for the audience to make their own aeroplanes during the debrief . Firstly I will demonstrate this and they will copy. The audience therefore feel that the plane is more personal to them also they are participating in the activities rather than just watching. They appear  “‘to consciously look at continuities or continuities that are being made’,again evoking the notion of dramaturgy as always in process, always emerging in relation to its context” ((Turner, 2010, p151)).

 

Works Cited

Arthur, Max (2009) Dambusters, Virgin, London

 

Pearson, Mike (2011) Some Exercises In Perfomrance Composition , Online: 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

(accessed 26th April 2013).

 

 

Tunrner, Cathy (2010) ” Dramatrugy and Architecture” on Mis-Guidance and Spatial Planning: Dramaturgies of Public Space’ Contemporary Theatre Review

, Vol. 20(2), 149–161.