In commemoration of the DaDa movement the design draws on
the essential element of abstraction interpreted in architectural
terms and applied to the existing space. By noting the key
principles of avant-garde, design aims to reinterpret it for the 21s
century play, rather than creating a replica, appropriate for past.
Abstract geometrical design alters both personal experience
and perception of the performance. Connecting stage and
audience view planes in a literal surface, spectators become
part of the scenography, as they act as a backdrop of the play
to each other. Circular viewports for audiences’ heads hints to
Oskar Schlemmer’s Triadisches Ballett aesthetics, while tilted
stage planes aims to recreate geometrical play, distorting
actual space perspective. Both expressions often recognised
in avant-garde plays, it also leaves clean, uninterrupted
space for the dancers, aiming to pursue continuity (or
absence) of space, while focusing on the two-dimensional
spectacles, clear geometries and distinctive color tones.
Stage cover
The stage is raised with a platform levelling it with the
audience cover planes, to create a seamless surface.
Traditional podium platforms, coming in 1000 x 2000 mm
surface area could be used here, lining it with the same tone
fabric, as the audience plane. These two simple elements
help to embrace a concept of audience member becoming
part of the stage. Often DaDa theatrical designs played
with non-defined, continuous, endless surfaces. In our
example, it is employed in a new, immersive theatre tradition.
Audience cover
The audience cover is assembled from neoprene fabric stretched and sewn over a pvc frame. This choice of materials allows the piece to be lightweight and therefore easily manipulated. Before the performance the cover is raised to allow the viewers to be seated comfortably and as the show begins the cover is lowered onto the audience. The view opening lands above the person’s head and stays there during the whole length of the performance.
Stage planes
The continuity of theatre space is disrupted by introducing two sloped sharp coloured panels in the centre above the stage. The panels create fake perspective from the audience point of view, reflecting on the juxtaposition between the music sequence chosen for the performance.
Exposé
If we look at music notes, we see patterns, proportions, repetitions, and anomalies. We can apply this same principle when looking at dancers and their respective movements. This was done by transforming a line of music note into its material form of a flowing curtain with certain areas removed to expose the dancers behind its veil.
The expose works in three continuums. The first exposes the lower body, or the movement of the legs. The second exposes the upper body, the movement of the torso. The third exposes the head, and
the arms, to present the movement of identity. Moments and movements will frequently clash and find harmony as the curtain rotates slowly and surely around the dancers.
Hugo Ball – Caravan
The sound poem „caravan“ of Hugo Ball combines the given
topic with different volumes, rhythms and distorted words. This gives the viewer the impression of a caravan with elephants .
By opposing aligned mirrors can create projections of dancers in form of a caravanmulate a caravan. For each different angle there is a different view for the audience available.
Tzara, Janco & Huelsenbeck – L‘amiral cherche une maison à
louer
The simultaneous poem „L‘amiral cherche une maison à louer“ is a three-man-show, where the actors sing, talk and whistle at the same time.
There are five mirrors in the center of the stage who can rotate around their own axis. By rotation of the mirrors the actors are put in scene. This sequence of events a disharmony. In between the interlude of Erik Satie create harmony.
Kurt Schwitters – Ursonate The sound poem „Ursonate“ deals with the letters of the alphabet, each letter on its own produces no sound. They are just a skeletal structure. If they are put in sequence they will produce different
sounds .
The hall of mirrors should confirm the idea on a visual basis to give letters a second sight. The letter „b“ could be transformed
into a „d“ by using the mirror.
This order of events creates a new combination of sounds.
