What walls don't forget

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What walls don't forget

This the broad title I have given to the first part of my research which will look at two familiar places and try to arrive at a theatrical way to express them. Most importantly I am trying to get this idea of a space having a readable 'memory', in other words that you as an audience can project forward or backwards in time to what has happened (narrative) or is about to happen from the implications of the space and the relationship to performers within it.

I will start with a hotel room.
Most hotel rooms I have been in do forget. They are designed especially so that you don't know what has happened before you enter. So this will be my challenge, to portray a hotel room that both holds the memory of what has been and implies what will come.

So how to do that? I have a starting point and two approaches.

1   Slideshow of my holiday in Luxembourg
This will be a set of stills set in a hotel room, using a bunch of reference points. I have always been seduced by the images of Jeff Walls, partly because of his deliberate reference to classical composition but mostly because he manages to evoke this eerie sense of vertical time in his images. 

Without illustrating it he implies the past and the future in a loaded present. Gregory Crewdson has a bunch of photos a bit like this too but I'm not sure that I'm not more seduced by the scale and epic film-like quality of the production here.
 Certainly there is an overwhelming sense of mood. I am reminded of some of the work I've been introduced to from the work of Michael Checkov where the actor projects light and space with the intention of their body. Similarly some work with a friend recently back from Min Tinaka's farm in Japan worked with this very focused projection of oneself. I feel like these could be very effectively linked to each other. The other reference point is of course Bruce Nauman (and many other video artists) who filmed themselves standing in different parts of an empty room.


This is an early photograph by Jeff Walls, where he reconstructed a bedroom following the compositional template of a painting by Delacroix (below).

So with these reference points I will make an artificial hotel room and explore bringing these techniques of projection, mood and narrative together.

The second part of this project will be an improvised offshoot using the same hotel room to role-play a fantasy of what happens in a hotel. Whenever I go into a hotel room I wonder about who has had sex in there, there's never any evidence of it but it for some reason screams out at me, I thought maybe this was a juvenile response to hotel rooms that I would get over, but now having stayed in at least a hundred hotels (it would be interesting to try to count them one day) I still haven't grown out of it. So this part of the project will take an illicit meeting of two strangers from a well known movie and will be played out by as many different people as I can co-opt into playing the parts. I will have costumes and wigs and the original scene on hand for the players to use and then it will be entirely up to them to play it out. I'm still looking for the scene to use, I had wanted to use Blue Velvet but there is a problem with the third character being stuck in the cupboard and also the blatant misogyny might not hold the same interest for women to play. I'm reading a book called Living Dolls, The Return of Sexism at the moment and while I don't think David Lynch is reinforcing sexual stereotypes, it's hard to ignore that the scene in Blue Velvet is all about victimisation.  

Cindy Sherman from her Untitled Film series in the 70s. She plays a film actress with all the photographic support but with a complicit knowledge from the viewer.

Sophie Calle, the ultimate snoop. She photographs a series of hotel rooms, posing as a hotel cleaner, which allows her access to the room when the guest is not around. She documents through their absence a kind of portrait of each guest. I am very compelled by the work of Sophie Calle that I have seen, she thoroughly mixes the personal with the public.