As we have decided on the theme of maps I have decided that I want to look at internal journeys and maps subsequently I decided to take an internal journey.
I looked through YouTube to locate a recording of someone leading you through an internal journey the bellow is my response to this;
It took me a long time to relaxed into the experience but when I did I made my way through never ending fields full of luscious grass I began to feel safe and warm, at the mention of a distant figure someone walked in the room and because I was trying to focus I kept my eyes closed However because I could not see them and I had been previously so relaxed I became nervous and jumpy continuing the rest of my journey with my eyes open, this made it difficult to detach myself from my location however it was still possible to imagine the situations and locations being described.
Upon meeting the figure I realised that it was my Grampy Wilkins walking his dogs we had a brief conversation in which we talked about a Robyn sat of a tree and how unseasonal it was. Upon my departure I felt slightly lonely in the weather became slightly cooler I felt my body instinctively a pulled my body into itself, at this point I felt comfortable enough to close my eyes again as I made a journey down a narrow country lane, at the end of which was large concrete building that closely resembled a prison, it was starting to cloud over so I decided to go inside, upon entry it became apparent that the building was empty this marks the end of my journey.
I could no longer concentrate so I ended my journey part way through, I was also struggling with detaching myself from my actual location.
The main thing I noticed through this journey was that I found myself recalling a memory as opposed to creating a new journey or a path.
This made me consider practitioners who have previously examined memory and performance in community settings and how this could relate to our own Site-Specific project.
Within the book Making a Performance: Devising Histories and Contemporary Practices. The practitioners explore the idea that community performance can and should link to those who partake in it. He also looks at the idea of sharing stories within a community of any kind offers recognition of the past as well creating individual and are identities.
In terms of our own piece I feel that it important to recognise that it is not only Site-Specific project it also resonates with the community theatre branch, it will be intriguing to discover the different stories and memories that are explored during our project. I do not in any way want to stifle the area but instead allow it to speak to us I want to project to belong to the participants. This concept also links to the ethics of having audience participants something that I don’t want to ignore subsequently I have looked at the work of Gareth White who explores the difficulties when transferring audience members from passive to active. He talks about the embarrassment inherent in being asked to perform particularly in front of other people. We are aware of this issue but have allowed room for it by creating an inclusive project in which nobody will be expected to perform individually instead we will be facilitating conversation and it is not a requirement to speak at all.
Govan, E., Nicholson, H. and Normington, K. ‘Narratives of Community’ in Making a Performance: Devising Histories and Contemporary Practices. London: Routledge