Mise En Scène:
Considering our research question in light of mise en scène..
Merging the creative disciplines of performance and installation, projection and photography, we intend to scrutinise acts of leisure and their paramount excess, probing intimacy and consent, in turn, heightening the seemingly unconscious act of voyeurism apparent in such.
… the environment in which we aim to create within our film should elevate and intensify the act of voyeurism within performance work through the narrative of destruct leisure.
To do so, we must consider the predisposition and paramount temperament of the subject (performer/exhibitionist) and the viewer (also a potential exhibitionist).
One way in which we conceptualised the voyeur and the performer was in a thought-simulation in which a one-way pane of glasses separates the two within a scene that captures holistically and viewed and the viewer.
A poor visual representation of the proposed scene.
In this scene we have allowed the performer to be scene simultaneously with the voyeur, revealing the intrinsic relationship apparent between the two subjects and ideally playing homage to the birth of the modern day voyeur – The peeping Tom
In a sense we are filming the sexualised act, however in essence placing a paramount importance upon the cathartic reactions of the voyeur.
I would be in charge of sourcing the film for the one-way glass and the pane itself (as I believe I have one at home)
Marta, AJ and Elle would be responsible for sourcing a space in which we could perform said experiment and collectively we would all suggest and investigate into who or what the sexualised performance would be.
Elle has the appropriate equipment for filming and lighting and I know I have some fluorescent lighting available if needed.
Ideally we should be able to put this thought experiment into fruition with the amalgamation of our efforts.
Reference to the type of holistic scene of voyeur and exhibitionist we’d like to create. Francis Bacon’s triptych ‘Three Studies for a Crucifixion 1962’ – in which the voyeur is captured within the same scene as the sexualised performance, quintessentially separated by a pane of glass. The entire scene is apprehended within one shot.
Bacon, F. 1962. Three Studies for a Crucifixion, Guggenheim, viewed 11/05/2017, <https://www.guggenheim.org/artwork/293>