One of the ideas behind the project was to confuse the space of rehearsal and performance time in relation to an audience. This meant inviting the public to come in when we were improvising and practicing/researching; for instance a trip to Bekonscot when Robert Ellis came along. The project was also concerned with the issues around representing process.
Bcnsfld was a collaboration between myself, Paul Whitty – a composer, and Marina Collard – a choreographer. We’d all met at PAL (Performing Arts Labs) in Sussex. We worked with Beaconsfield in Vauxhall as part of their Field V series. For this project there were people doing contemporary dance and [rout] were making live audio work by sampling, remixing and playing audio. I was filming elements of what was happening in the gallery space, which were directly replayed on monitors , and was asking people in the audience to take photos. There was one camera in the middle, doing a 360? pan every half an hour. There were alarm clocks going off telling us when to change our actions. During the week there were traditional performances of pieces of music – some by Philip Glass, a presentation about local political issues by Lambeth Walk Partnership, and an interview with David and Naomi. The audience had the flyer with the week’s timetable, so they could see that it was a durational performance. David Lillington, a writer who attended, said the whole thing was like a garden, a time-based installation with lots of moving parts you could walk through.
- Scan of programme
- Photographs – documentary and those taken randomly on large format and SLR
- Videos – panoramic every half hour, close up, documentary
- Audio – performances of other composers by [rout] and recordings of live work at bcnsfld
- Recording of conversation with David and Naomi