PUSH-PULL BEFORE COHESION
Synopsis
Using Ralph Meatyards image title ‘Untitled, 1962’ we intend to create an abstract moving image piece, involving two actors to portray the joining and harmonising of Yin and Yang entities embody by two performers. The performers will blend a mixture of dance and theatrical movement to traverse the studio set that blends hectic nature of the two spiritual forces along with their tranquillity.
‘Untitled, 1962, Ralph Meatyard’
Treatment
In the shoot, we want to craft the convergence of Yin and Yang coming together after being in separation for an undetermined amount of time. The shoot will explore four stages of this convergence: first the emptiness of the setting, the setting will hold this ethereal nature to it with the movement of the curtains establishing a flow of the film; second is the first stage that introduces both Yin (Played by Nina Sayuri) and Yang (Played by Alice Ball), their stances are split into ‘Fast (Yin) and Slow (Yang)’ and their choreography and movement will reflect these stances/ tones/ characteristics of Yin and Yang respectively. Each of these performances for Slow and Fast will be performed a solo by Yin and then Yang, from different shot choices to then be edited together in post with some pick-ups collected once primary shooting has wrapped in the middle of shoot day two. The next stage is ‘Hide (Yin) and Seek (Yang)’, which is a direct influence from the resource image, and once again the choreography and movement will reflect the positions that Yin and Yang both hold within the scene and within a spiritual context. The next stage is the first stage in which both Yin and Yang perform together and interact with each other; ‘Pull (Yin) and Push (Yang)’ begins the physical bonding of both entities (both performers) as one whole. This leads smoothly into the final stage that is ‘Pull and Push Together’, in which we establish the final moments of the bond finalising in an embrace, as both performers come together as one statue within the space in an embrace.
In terms of the set, the walls will be covered in a fairly thick oatmeal/cream coloured fabric with the desire of it looking like curtains hanging. The reason we have gone for an off-white colour is due to how we light the fabric, if it was pure white it wouldn't show up as well and be very washed out. Therefore an oatmeal colour will be more achievable to get the look and effect we want. In the middle of the set, there will be a thin transparent material in the same colour, they will be attached from the top of the set walls, along to a c-stand hung on a net curtain wire. These curtains will be hung on the wall and the curtain wire in a loose manner that gives us some slack for when we use the fan on set, as we want the curtains to have some movement to them to create a living space. Space itself will hold a surreal and ethereal sense of purpose and place, in that the setting is acting as the capsule in which Yin and Yang are converging. This surreal and ethereal vibe will be achieved through the soft lighting, that will hopefully cast the set and the performers within a glow. While the sound crafted to accompany the dancers shall bridge the surreal with the tranquillity of the space, in that the flowing of the space may be otherworldly (as the source exists outside of the frame) but is mimicking almost the pull and push of a coursing stream/ river.
Treatment
In the shoot, we want to craft the convergence of Yin and Yang coming together after being in separation for an undetermined amount of time. The shoot will explore four stages of this convergence: first the emptiness of the setting, the setting will hold this ethereal nature to it with the movement of the curtains establishing a flow of the film; second is the first stage that introduces both Yin (Played by Nina Sayuri) and Yang (Played by Alice Ball), their stances are split into ‘Fast (Yin) and Slow (Yang)’ and their choreography and movement will reflect these stances/ tones/ characteristics of Yin and Yang respectively. Each of these performances for Slow and Fast will be performed a solo by Yin and then Yang, from different shot choices to then be edited together in post with some pick-ups collected once primary shooting has wrapped in the middle of shoot day two. The next stage is ‘Hide (Yin) and Seek (Yang)’, which is a direct influence from the resource image, and once again the choreography and movement will reflect the positions that Yin and Yang both hold within the scene and within a spiritual context. The next stage is the first stage in which both Yin and Yang perform together and interact with each other; ‘Pull (Yin) and Push (Yang)’ begins the physical bonding of both entities (both performers) as one whole. This leads smoothly into the final stage that is ‘Pull and Push Together’, in which we establish the final moments of the bond finalising in an embrace, as both performers come together as one statue within the space in an embrace.
In terms of the set, the walls will be covered in a fairly thick oatmeal/cream coloured fabric with the desire of it looking like curtains hanging. The reason we have gone for an off-white colour is due to how we light the fabric, if it was pure white it wouldn't show up as well and be very washed out. Therefore an oatmeal colour will be more achievable to get the look and effect we want. In the middle of the set, there will be a thin transparent material in the same colour, they will be attached from the top of the set walls, along to a c-stand hung on a net curtain wire. These curtains will be hung on the wall and the curtain wire in a loose manner that gives us some slack for when we use the fan on set, as we want the curtains to have some movement to them to create a living space. Space itself will hold a surreal and ethereal sense of purpose and place, in that the setting is acting as the capsule in which Yin and Yang are converging. This surreal and ethereal vibe will be achieved through the soft lighting, that will hopefully cast the set and the performers within a glow. While the sound crafted to accompany the dancers shall bridge the surreal with the tranquillity of the space, in that the flowing of the space may be otherworldly (as the source exists outside of the frame) but is mimicking almost the pull and push of a coursing stream/ river.
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