We hope to involve some use of sound in our performance in order to help create atmosphere and provide our audience with a clearer understanding of the setting of each scene as we guide them through our performance with our promenade technique. However, because of the use of promenade we are still working on the practicality of using sound, especially when taking scene transistions into consideration.
With the mystery of not knowing how bigger audience we get, the smoothness of transistions bewteen scenes will be very dependant on the size of our audience. It would be hard to judge when to stop any music/sound especially if (for example) the scene working its way up the staircase, some audience members who are first to lead, and have reached the top of the stairs, and some audiences, who are last to lead are still at the bottom of the stairs…Unless obviously if we had a personal sound opperator who wasn’t performing!…Well clearly ive just solved my own problem. O’well! =)
I suggest some circus type sounds effects for the stair case scene, unless Jimmy…You can create some circus type themes and/or clashy, atonal chords on Kirstys Yuke?
Im sure Mr.Sound Man Aaron will have more to add to this page =)
Ive been looking into some costume ideas for the circus characters on the stair case scene. I thought the use of mask would not only be easier with regards to quick character changes, but also contributes to the idea of the strange world surrounding Woyzeck. The use of mask helps create a sense of mystery/supernatural. I feel this provides an interesting reflection of Woyzecks mind and the way inwhich his visions and hallucinations start to take over.
Also, a few more pictures. Creating the same effect as a mask would, with make-up instead. (If we had the time).
IF you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream – and not make dreams your master;
If you can think – and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
‘ Or walk with Kings – nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And – which is more – you’ll be a Man, my son!
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