Tutorial development 1

IAfter a very positive and constructive tutorial with Jessie Jones last week, I went off to get something cohesive on paper. After disaster with the booking of rooms in college, my scheduling went up in a heap but all I can say is that everything happens for a reason. I now have scripted a concise dialogue for my first meditation workshop. The aim is to develop the dialogue throughout the workshop in acknowledgement to the ongoing motion and body language of the participants. The workshop will be recorded - the camera will remain static at all times with the lens open to allow a full focus of the entire body.

After this workshop I want to experiment with the dialogue and see if it worked well. I want to eventually experiment with the combination of the scenarios in actuality and the silent response brought forward by the participants at the workshop.

Thematically I will be dealing with the concept of family relationships. The language of the script will be very ambiguous. It will be driven by emotional triggers.

Having has a follow through tutorial with Tony McClure, I am now in a good position to go forward with my first experiment and look forward to having something visual by next week!

Understanding the Bodies Natural Emotive Responses

[IN PROGRESS] 

Over the past number of years I have been interested in the form of the body and how, without verbal interference, one can interpret a figures emotion through language of the body and its expression.

When we speak, we sometimes do not know what to say. Especially when we need to express how we feel. We also do not speak honestly of our feelings or so it is a tradition in the mentality of the human to hide and secure our emotions. In everyday life we can hide our emotions though to the people we are closer to, the acknowledgement in the differentiation of our body language and expression can be identified clearly.

(End of draft one)

Historically dance is a creation of bodily expression and performed it can display a narrative as clear as any play. However contemporary dance movements have successfully achieved very translucent experiments without a chronological narrative allowing the voyeur and performer alike an entry point and personal interpretation. 

(End of draft 2)

http://www.historyguide.org/europe/dio_apollo.html

Caravaggio; A Sub-Conscious Influence

Left: Caravaggio; David with the head of Goliath - Detail (1609-1610)

Right: Eamonn B. Shanahan; Studio Emotive Performance (2011) 

Ultimately I am a huge fan of the great master Caravaggio. His beautiful attention to detail and life-like qualities amaze me. However when I was shooting my Performance Art Work, I had not intended to have a Caravaggio-like relation attached to my work.

This acknowledgement came to me in a lecture on Caravaggio by Vera Ryan on Monday 21st November 2011 and also from comments and observations from my colleagues. However in the lecture Vera Ryan spoke about the early works of Caravaggio in which the master created self-portraits, moreover she stated that there was an 'irrelevance of time and space' in these early paintings. Currently, as my work is based in an environment that is neutral, I would like to believe that this influence has much duplication from Caravaggio though in the medium of photography.

Furthermore in the continuation of my studio work I hope to develop the irrelevance of time and space and push it to its limits incorporating my own response to movement and emotive response.