Set breakdown
Last week I went to see a show by Powerplant at the RNCM, an experimental percussion, audio visual mix including work by Steve Reich, Old Mexican music and an absolutely incredible aluminium harp.
The first half included, from memory, six shorter pieces, that varied in intensity. With the Steve Reich piece being the most intense and difficult to listen to. The set came back down again before the interval before with something more human, gentle, accessible.
After the interval were two longer pieces. First the harp, which was beautiful, soaring, light. And then a percussion, sort of glockenspiel piece. I will find out the correct name for this instrument. There were some interesting parts where it was being played with a violin, or viola bow. This piece was more level, compelling, and not quite so uplifting or soaring as the harp.
I liked the structure of the performance and it reminded me of some of the ideas I have and use for planning my production workshops. Where and how to include breaks and intervals, where to have the fast bits, the most intense and dynamic sections. Where to include breaks and pauses, creative rest and so on.
I like the idea of developing this into, and including a structure for the film. Using periods of intensity that cause something almost like discomfort, followed by beauty, gentleness, lightness, where to relax, and allow the audience to relax. Where to add weight and gravity and drama. A pitch or intensity for the work and where this might happen within the project overall, as well as in the final film or films. Where and how the resolution might form, and where there is space for the unresolved. And how to include experimentation, play and something that is perhaps more creatively challenging in the piece.
Diagram below.
