h a l f b a k e r yCeci n'est pas une idée.
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Drifting across a nearly level surface of water, surrounded by amateur karaoke and diluted spirits can be so BORING. Let's reimagine performance art for greater impact. Don your formals and refresh at the loo before boarding the "Tumultu Magnificus" for an evening of extra-broad-dynamic-range sensory
experiences.
Take your seat inside the near empty and luxuriously apportioned shell of a airplane, and "Insert the metal fittings one into the other, tighten by pulling on the loose end of the strap...". Admire the luxuriously apportioned interior and the crisp ambiance, due to the superlative acoustic reinforcement and treatment. As the lights dim, heed the MC's safety instructions, and her exposition about the event's selected pieces. Settle in as the captain brings the craft to a comfortable cruising altitude and velocity.
Observe the performers executing their parts, while the pilots carefully guide the plane through choreographed dives, climbs, turns and turbulence to enhance the impact of the music and drama. Feel the swell of excitement at a vertical .7g crescendo, the unending agony of a loved one's unjust death in a horizontal .5g turn, and the indomitable force of will in the face of insurmountable odds during a 1.6g climb. Internalize the compulsion of fate in a level 1.3g acceleration, and linger in a sweet moment at .2g deceleration. Greater artists than I will no doubt find beautiful subtlety in combinations of abscissal, ordinal, and applicate changes of velocity, both positive and negative, each at their appropriate times.
The overarching theme may become a Jabberwockian book-ended notion of the 0-sum game that is taking off and landing from the same airfield, or it may be the final destination is one much loftier and brighter, or colder and more drear, and the performance's commentary may linger in the arrival at such a different place.
The 12 'celerations' are the positive and negative changes for each of velocity in pitch, roll, and yaw. English is apparently somewhat lacking in clear descriptors of the classical mechanics.
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I used my parachute and jumped out mid-idea. Don't wanna
die in an airplane. Too violent. Wanna die in my sleep, in my
bed, at night. Please and thank you. |
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Stage directions and fight scenes are also affected. |
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Are you asking for that to be arranged? |
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I didn't see any mention of dancers. I'm not sure if it would
be best to adapt classical ballet or to do a more modern
gymnastics type of dance that could take full advantage of
the low gravity conditions. Of course that would mean a
tradeoff between using G forces to enhance the mood of
the audience vs. enable the moves being performed by the
dancers. But I'm sure the composer and choreographer can
work that out. |
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Rehearsals could get expensive... |
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Samuel Beckett in variable gravity ... |
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Vladimir: "Can we go now ? " |
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Estragon: " No ! We're waiting for JATO ! " |
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hmm, we might want to put off having dinner until after the show... |
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Oh, dancers are definitely in. I'm imagining something like the final scene from KÁ, but comprising most of the show. |
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Yes, you might want to wait on dinner, now that you mention it... |
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Cirque du Soleil in free-fall ? |
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Peter Pan would be a good production for this theatre, with all the flying bits timed to coincide with the zero-G dives. The interior of the aeroplane would need to be made of materials which could be safely hosed down after use though. |
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Both time constraints on gravity changes and the heights to
which a plane would have to fly to make good on this call
for the production to instead be made in space. |
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