Do we want any agreements about when you are ‘in’ or ‘out’ of the piece? And if so, in which concrete way do we want to define it?
Here a few practical possibilities to find clarity about the subject:
Marking/Defining ‘performance space’ and ‘audience space’ clearly in space. This can be either done in a clear way for everyone (audience and performers) or as a ‘silent agreement’ amongst the performers, while for the audience it remains more open.
Here one can also play with conventions and expectations: A dressed up stage might turn out to not be the place of performance at all.
The performance has a clear start and end in time that the performers agree on beforehand. Once the time starts, you’re ‘in’, no matter where you are.
See also Falling Out of Time for a more subtle view on time and being inside/outside the performance.
Is ‘being in the performance’ marked by a certain ‘way of being’, in which I can switch (internally) from being ‘in’ and ‘out’. (which might not be visible to others, but is very clear to me)
Is ‘being in the performance’ marked by a certain behaviour that the performers agree on (e.g. when you sit on the ground, you become an audience member, when you stand up, you become a performer)
Is the agreement/interest of us as performers that we want to explore the MANY STATES IN-BETWEEN performance and reality and therefore decide not to define at all where performance starts and reality ends?
There is also this question:
Who is the AUDIENCE? And what is the role of the audience? Is the audience also IN the piece? Do performers and audience mix? And if so, why do we want that?
Related, you might want to read furhter under States of Being, Roles we Take.
/ … please add!
How do I enter as a spectator?
How to enter as a spectator
Here is the entrance to a performance?
Do we define it by time, sight, acceptance or conclusions?
I enter a space. Something is clearly going on in a certain time; it has a dramaturgy, but I can´t “read” it since I enter after the common or thought start. My start is somewhere else in this timeline.
How do I enter?
I enter as a body, visible and watching. Trying to “read” the room and its actions. I calculate where to be present but not changing the room. Is that possible? My appearance changes the design of the space. Architecture or maybe we could call it stage design?
How to cross the space or the room with a certain speed not being mis-understood or mis-interpreted as a performer. Being “just” a spectator.
Can I become a human “bracket”?
in and out in music (in – out – layers)
I write while I am playing. I can make long sounds with the Moog. These have a rough quality, not smooth tones. Just because this sound layer is rough, other sounds can hang on it and hang on the ears of listeners.
I make sounds (that are in the room and influence him and the people). I create a continuity, an invisible filling of the space (down to its last corner). When I stop, especially when I suddenly stop, the naked room is present in its bewildering clarity. I play with the in-out and the dancer will be tossed or she let her body be thrown. A strong force.