Stephanie Doe has kindly edited a short promotional video together for our groups advertisement.
The video shows different elements of our performance.
Word Count: 22
Works cited
67 Bodies, 37 Monks Road, 4×3 Space
posts that contain video
Stephanie Doe has kindly edited a short promotional video together for our groups advertisement.
The video shows different elements of our performance.
Word Count: 22
Works cited
Name:
Emma Huggins
Email:
steffydoe@hotmail.com, emmahuggins92@gmail.com, charliecryan@hotmail.co.uk, ellierichards1@hotmail.co.ukemmarae@hotmail.co.uk
Title of your Project: Four by Three
Please describe your proposed work in no more than 50 words:
We are exploring the 2003-4 excavation of37 Monks Road, the forensic elements which were involved, the merging of sites and the layers of history. We are doing an audio/visual based performance in studio 2 collaborating film, interview, statistics, the theory of Derrida and the traces we leave behind.
Tell us what you plan to do and provide a sketch of the ideas behind the work: (250 words)
Upon researching our original site Rosemary Lanewe found an extract in Andrew Walker’s Monks Road: Lincoln’s East End Through Time which led us to the excavation. From here we found the measurements and a number of skeletons buried in the cellar of37 Monks Road. This was also connected to a murder in 2002 which happened at35 Monks Road and was the reason for the forensic excavation at number 37. We also wanted to explore the connection this created of deaths through time. We contacted Dr Ron Dixon who is a professor of forensic science at theUniversity ofLincoln who worked on the excavation. There is a wealth of resources available to us to do with the excavation such as bones, video footage and photographs which enabled us to create a very focussed site specific performance. After initial research we began to consider how we would use these elements in our performance. We started by concentrating on the four by three area and the borders that this created. The borders between life and death, past and present and the physical and spiritual. Due to the nature of our performance we wanted to merge all the fragments of research and connect to people’s perspectives of a place. We were encouraged to explore the numbers involved such as the number of bodies found, house numbers, the years, the area, the ages of the bodies etc. After our research in the archives and our interview with Ron Dixon we had the idea of typing a transcript of facts, thoughts and experiences in a verbatim style. We chose to base this in studio 2 to create an installation piece, projecting film and audio around the room creating a different perspective of a space to an audience. We are also thinking of performing a forensic sweep of studio 2 to signal the start of our performance.
Tell us about your target audience, and how your work will interact with them: (150 words)
Our target audience is students, locals and those interested in history. This performance would not be suitable for children due to its complexity, exposure to human bones and the exploration of the theme of death. We are considering taping off an area to contain the audience in someway and then introduce them into the performance space and challenge their perspectives.
When and where do you propose to present your work: (location, date and time)
Our performance will be in studio 2 on Saturday the 5thMay at 1.04pm (67 bodies / 5 group members) and may last 2 hours.
Provide a project timetable detailing key targets and actions between now and the presentation of your work. Include Permissions, Materials, Health and Safety checks where applicable: (250 words)
Between now and our performance we are arranging another meeting with Dr Ron Dixon to finalise permissions for borrowing materials such as bones and excavation footage. We are in contact with Darren Page (LPAC Technical Team) to borrow a camera to film footage of Monks Roadoutside the house where the excavation takes place. As the house is currently student accommodation we will seek permission from the residents prior to filming and may also ask them if they know anything about the excavations. In order to do this we will need to fill out a risk assessment for borrowing the camera and for the performance. We are thinking of perhaps borrowing forensic equipment or purchasing it ourselves.
List the equipment and materials you will need to deliver your project (and how you will source them)
Camera – LPAC Darren Page permission through email and risk assessment.“Mobygo” Projector – LPAC Darren Page permission through email.Laptop – Our own.Microphone – LPAC Darren Page permission through email.
Bones and video footage – Dr Ron Dixon, Science Building University of Lincoln permissions through email.
SD Card for camera footage – Our own.
Give details of your project budget (though be aware that there is no Module budget so any expenses will, unfortunately, have to be borne by you alone).
We may need to source some forensic equipment.
Audience suitability: is there anything in your work we may need to make audiences aware of (eg. Swearing, nudity, flashing lights etc)?
We will need to inform people that we will be using human bones and exploring the theme of death.
Include a brief artist’s statement that describes you and your work (100 words)
We want to create a piece designed to challenge and enlighten an audience’s perspective on a place which would otherwise have been overlooked.
Provide any images, plans, maps or other materials that support your proposal.
http://www.fourbythree.webs.com/ – our advertising web page, created by ourselves
http://www.facebook.com/events/175802349209904/ – our Facebook event page, where we will invite friends and family this is a photo from the original excavation.
Word Count: 869
Bibliography:
Photo from the excavation http://www.lincoln.ac.uk/news/images/skeletons3.jpg
The buildings on Rosemary Lane were proving too difficult to find any background information on – the archives didn’t host much information in terms of the Lane or the Kerr Pattern Building.
We did however discover that the house the excavation took place within was number 37 Monks Road. We have decided to pursue with this idea to see what opportunities it hosts. Andrew Walker states that “Between July 2003 and January 2004, excavations were undertaken to recover some human skeletons from a medieval cemetery on Monks Road. The skeletons were found in the cellar of a house next door to the scene of a recent murder and the owner of the property had to be assured that the bones discovered during an operation to lay damp proofing course were really 800 years old” in his book Monks Road, Lincoln’s East End Through Time.
Through our research, we found that an Editor to Walkers Monks Road, Lincoln’s East End Through Time, Dr. Ron Dixon, is a senior lecturer at the university and was also a manager of the excavation that we are researching. We are going to look into this more and Ellie has arranged an interview with him at a later date. He had given us permission to record this interview in case we wish to use it in our performance.
In finding this excavation, as a group we began to ask ourselves ‘what actually goes on behind closed doors and how well do we actually know Lincoln?’. There things that happen around us that we don’t even know about. What would happen if we presented these ideas to an audience? It would be interesting to see how they react to such things and see how they interpret them.
After having our interview with Ron (Which I was unable to attend) Steph Doe kindly posted it onto youtube and here is the final product:
Word Count: 315
Andrew Walker, http://view.digi-page.net/books/7020/7020.pdf
http://www.youtube.com/watch?NR=1&feature=endscreen&v=6uvJNMMyQUM
When first tackling the idea of site-specific performance it was unclear to me how to define the difference between a Site Specific Performance and a performance that has been adapted to fit a site. The difference however, is that a Site Specific Performance cannot be adapted from site to site, it is a performance that holds no meaning or sense in a different location. Mike Pearson states that “site-based refers to performance in found spaces rather than in designated theatre buildings” (Pearson, 2010) A performance that tells a story can be put on any stage and can be performed at any theatre, which is what makes Site Specific different. Site Specific Performance can only be performed at one particular site. If you like, you could say the site is part of the performance, a character in itself.
The idea that Ligna Theatre Company have in relation to Site Specific Performance:
This is an example of a Site Specific Performance, it cannot be taken to another place and be performed, it would lose its meaning. The audience become performers without even realising, I like the idea of manipulating your audience without them realising
“A large part of the work has to do with researching a place, often an unusual one that is imbued with history or permeated with atmosphere” (Pearson, 2010, pg.7) To make a performance specific to a site, background research will be vital. A Site Specific Performance is not a recreation of a historical event. However as actors we should be able to make up our own fictional history, and make it believable. The false history may be based on some facts but wont be entirely true. By doing this the aim is make our own imprint on the site without harming its original fabrics.
Word count: 293
Bibliography
Pearson, Mike (2010) Site Specific Performance, Palgrave Macmillan