After being moved creatively by Ruth Sullivan’s ability to perform live foley I wanted to explore this as my third project proposal.
My idea stems from overall live performance and the juxtaposition between post-production work. I hope to take a pre-recorded piece of work and perform live sound design on top. I believe that the contrast between static pre-recorded work and live sonic sound would create a perfect blend for an alternative live piece of art.
Post covid – 19 live performance and theatrical work took a huge hit in regards to viewers and sale prices. Alongside the rise of streaming sites and a cost of living crisis, this became the perfect combination to discourage people from previewing live performances. I hope that my piece of work will express the dissolution of boundaries between television work and live performance and take away the audience’s choice to flip between domesticated pre-made work to live performance.
Watching and listening to live performances enhances the audience’s appreciation for the work itself whilst boosting the sonic reaction to what is heard in contrast to the way audiences hear when watching something on screen. Within film and television work the sound is often the less appreciated medium as picture takes priority in how we perceive a story. When performed live with a pre-recorded film the priority is switched and sonic noise is the first concern to the viewer.
I hope to explore this as a project and set up a proposal to create live sound work for an audience to view alongside a pre-recorded film.
TIMELINE
Week 1: Scout foley artists / workshops
Week 2: Attend foley workshops
Week 3: Attend foley workshops
Week 4: Learn how to edit foley and the limits and potentials it holds
Week 5: Find the film or a piece of screen work for the performance
Week 6: Spot the film – where foley is needed and where it isn’t
Week 7: From the spotting session – transfer this into your own type of musical score which I can follow when performing the foley live
Week 8: Explore different methods of sonic sound and instruments to use during the performance
Week 9: Explore different methods of sonic sound and instruments to use during the performance
Week 10: From my exploration narrow down and chose a shortlist of objects / instruments to use for the final project
Week 11: Rehearsal
Week 12: Rehearsal
Week 13: Rehearsal
Week 14: Sort out technical set up for the live performance and make a draft plan of what sound kit I will need
Week 15: Rehearsal
Week 16: Sound rehearsal with microphones and speakers
Week 17: Record a sound rehearsal of my performance and make a critical judgement / plan
Week 18: Rehearsal making improvements based on critical judgment / plan
Week 19: Sort out transport fro the exhibition / performance and make sure all admin is correct
Week 20: Hand out invites and advertise my performance
Week 21: Rehearsals within the gallery space
Week 22: Rehearsals within the gallery space
Week 23: Transport and set up all kit and microphones ready fro [performance
Week 24: Recorded sound rehearsal within the space
Week 25: Reflect upon recorded sound rehearsal and make improvements ready fro performance
Week 26: Performance