for David: Pallasmaa and the Half Moon
Pallasmaa’s ‘The Architecture of Image: Existential Space in Cinema’ looks at the relationship between space as it appears on the movie screen and the spaces/sets used for filming. It strikes me this may have some relevance to the interplay between the televised and physical presence of your studios/show.As I mentioned in the last crit have a look also at the Half Moon Theatre by Florian Beigel. Beigel has developed an approach to this and other projects based on ‘specific indeterminacy’, both prompting the actions of those within space but allowing for flexibility and interpretation. The link includes references to a AR article and downloadable AJ article. There is some interesting stuff here on historical forms of street theatre and structures/props that have been used.
Andrew – thanks for posting this. I read it when you posted it but have since managed to put off replying – I apologise for my rudeness.
It’s an interesting project and a great re-thinking of the design of a theatre. I have been trying to put into my scheme elements akin to the side walls and their openings, i.e. parts that can be re-interpreted for different productions. I have three points outside the (now) three studios from where the presenter/protagonist/antagonist can speak to the crowd from balconies, plus openings in the studios to allow a crowd to move in and out and follow a production through into different scenes. It could make for a fun television programme or play and adding very basic, re-interpretable elements is, like in the Half Moon Theatre example, enough of a structural gesture towards flexibility.
I shall post what I have been doing recently in a short while (it needs some diagrams to explain it, not as yet attempted.)
Again, sorry for being slow to reply.
don’t worry about the delay in replying – glad the references were useful.
Like the presenter/protagonist/antagonist roles you speak about – would be great to incorporate them into some visuals. e.g. view from crowd looking up to antagonist on balcony. This notion of actor and ritual reminds me of some of the later John Hejduk pieces.