Maya Project. B.

Rehearsal 2_1.24.18

We set up two cameras to record from the beginning. We repeat what may be a ritual of sitting, breathing, finding ourselves in the space, slowly evolving into walking, and then into improvisation.

We focus our attention again, and more avidly, on space, distance, and pathway.

I think that enhancing our understanding of ourselves in space, how much we take up, and our distances, is one key to understanding this idea of the frame of the camera and its specific digital space.

We measure ourselves in space walking, moving, standing still.

We reflect on the cameras, on our improvisations, on our actual feelings currently in this space and time.

I think that this is also key to the process: as my interest is in removing the feeling of necessity of pretend that can be inherent in filmmaking: we pretend that we didn’t do this take 50 times in a row in order to get this shot the way we wanted it. This is a wonderful, purposeful way of filmmaking, of course, but I am interested in trying something else for this project. I am interested in the investigation of immediate craftsmanship, of momentary problem solving, and in how we can make those kinds of choices with a camera. Within this framework, it is not actually useful to do any pretending.

The camera is there. We do not pretend it isn’t. How does that feel different?

We are choreographing for the camera frame. We do not pretend that we aren’t. How does that feel different?

What possibilities are available to us when we are making ourselves available to what is actually in the room? What possibilities are not available to us for the same reasons?

We spent time considering our own vision as a frame. What are its limits? What can you see and what can’t you? We improvised, all considering our own visual frames as camera frames. We improvised with only two of us considering our visual frames as camera frames. We reflected on the differences.

Some reflections from this rehearsal process from all of us:

-Seeing with ‘camera vision’ does something distinctly different to my body. I started to make interesting choices about frame and movement and reveal. How and when did I want something to appear or disappear? How fast? At what angle? (KNL)
-With only 2 people as cameras, there was a disparity created between the group which was palpable. (KNL)
-Squares and lines (KM)
– the squareness of space?
-kinesphere
-square frame
-Is inspiration coming from inside or from visual field (KM)
-When I am being a camera, I lose sight of all other cameras (KM)
-I think using vision in this way might slow time and action. Something about the speed of processing… (KM)
-Having the two non-human cameras in the space was important as a mover. It made me feel like I was making important decisions even though the human camera didn’t catch them. (BRJ)
-I’m interested in why this switch from being a camera to being a non-camera was less satisfying. Was it because my task was missing a piece that was added? Was it the desire to be interesting? (BRJ)
-I went from all these internal shifts of memory and emotion to very concetrated present moment sight oriented awareness. (CM)
-Touch changed, it was easy but not as sensitive. (CM)
-The practice got easier and then harder. My limbs became ways of adjusting scale or perspective. (CM)

For the first few weeks, we are throwing out all of the footage. I think this will contribute to a slow accumulation of ease with the feeling of the camera. Eventually we will begin to review footage in rehearsal time to discuss what we are seeing, what seems to be ‘working’ for us, whatever that means.

 

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