I discovered that my exploration of Tate Modern and what i found most inspiring, were the pieces which had to be physically engaged with, pieces which involved some sort of responsibility or action from the observer so that they were then transformed into the creator, or contributor rather than the voyeur.
This is a quality that could be replicated really well in the physical duet pieces and i think it can be really interesting if the audience or the 'voyeurs' can become a contributor to the piece, they can leave their mark on the piece. It can be ever evolving as different people take to it in their own ways. The piece doesn't necessarily revolve or rely completely on the voyeur but invites them in and offers a suggestion of participation and a provocation to think about what the piece might mean to them individualistically. Also, to highlight the nature of a 'living gallery' so that the observer is not only watching a physicalised, 'living' gallery but are also emotionally and possibly physically, 'living' the gallery themselves. This allowance of a choice for the audience to immerse themselves or not gives them a sense of excitement and positive control and decision which can make a piece of any expression extra evocative.
During my observations of the art in the Tate Modern i found that it was the atmosphere and the vastness of the space itself that became a massive inspiration in some of the ideas that we developed in the rehearsal processes. I found that it became important that our duet piece engaged, not only with site specificity and the way the space is used, but that the piece was able to communicate something which added to the space, and gave it meaning.
The vastness of The Tate Modern as a building was vast and cavernous, and at times I felt small and, not insignificant, but as if there was something much larger than me happening and that compared to the massive halls that we were all walking our way through, we were tiny, but tiny together. The nature of this and the way in which the place itself made me feel small, but purposeful, is something which i also believe to be vital way to engage and interest the audience in our pieces.
Apart from the Tate, I visited an exhibition of 'Abstract Expressionism' at the RA which mostly included works by Pollock - who, would often paint as if in a dance. The placement of the paint or the media was always carefully thought about, but done in a way which might appear messy, or chaotic. There is something about control and creation out of chaos which is fascinating and i think, much of what experimental theatre is, in that it is a carefully deliberated chaos which results in a creation which was not limited to a foreseen or expected piece or image. It is therefore only defined in the moment rather than predefined before it has even been formed.
