Luca-thesis outline

Thesis Outline

Question:

IF WE PLAY DOES THAT MEAN ITS NOT REAL(ITY) ?

Description of two previous video works

THIS IS AND THAT IS AND A BIT OF THIS AND A LOT OF THAT (2018) Is a 10 minutes video in which you see a series of moving portraits of Luca. In every portrait, Luca looks totally different. The video is guided by a narration that speaks an repetitive test always starting with the words: “THIS IS ME…..” The person you see in the image always may look different in every scene but the narrator tells you it's always the same person. The video plays with the versatile aspects of beliefs concerning 'identity', a research into the intriguing differences, the moldability of 'being' and in surge of a kind of essence. We search for authenticity. Yet we want to be accepted, to converse, to belong to one another in risk of losing that very authenticity. The complex game that plays with the urge for acceptance, recognition and the need for authenticity is central to this work.

THIS IS THEM (2020) Is a video in which you see Branda and Hilda playing in a room. They play different characters and scenes. Every scene is introduced by the narrator, always starting with the words; “THIS IS THEM…” Branda and Hilda long for a big life worth living but what does that mean a big life? Who influenced them to believe what is worthy? Branda and Hilda have such a grand idea of what life should be like that they are scared to go outside and live beyond their imagination. So they stay and try to create a vibrant life right there in that room. The question that this work raises is if staying in your room and creating words with your imagination is less of a real life compared to going outside into the world full of people where you can not control all that is happening.

Intention for a new piece

Something that fascinates me is how we as humans seek to connect with others and therefore ourselves - what we will do to experience connection and what kind of connection we allow. I think we often try to be "something" so we can belong to a certain group or movement in order to experience contact. This is how we create our story and our identity … In my work, the central focus is on people and their search for identity. Who are we? Where do we belong? How malleable is our identity? Why do we want confirmation from others? I try to show that people never know or possess one identity. Our identity consists of many layers and different "characters" that we discover and alternate in a playful way, in order to create our own story. I am intrigued by group dynamics: which role/identity someone takes within a group, but also that groups create their identity by opposing other people and groups. People are often looking for confirmation, but this search may lead to alienation, isolation and the feeling of "not being alive". These elements (identity and group dynamics) are in line with my fascination for people who constantly present themselves to the outside world. How do we want other people to see us? How do we want to see ourselves? I do not find this self-conscious urge for presentation to be exclusively negative: I think that the human being is a playful being at its core and that the different ways of presenting yourself to the outside world are in line with our urge to play. By self-presentation, people can playfully create an identity and reality with which he / she can approach and avoid the world. I believe playing is both a flight and a search for genuine contact with ourselves and the other. With the making of a new video called THIS IS US I want to further investigate how a small group of people surge for how they are individually and as one.

THIS IS US (2021) In THIS IS US we see a group of three people in five different scenes. Every scene shows how the group wants to be identified as a whole. “ I belong therefore I am ”. The style of the video is characterized by the four performers, wearing distinct coherent costumes in a minimal scenographic setting. THIS IS US has a non linear dramaturgie, and can be seen as a collage of moments. In this film I'm applying the same restrictions to investigate playing but this time going further by questioning how identity is constructed within a group context. I believe this work can build on the previous works, and has an opportunity to show how people change their identity for the sake of belonging to the other. What role/identity does someone take within a group, and how fast can this role change? This work can also make a new step in showing how groups create their identity by opposing other people and groups. Next to that I wish to make THIS IS US to further discover a (for me) form of dramaturgy. That means I want to look for a dramaturgy that offers me the ideal combination of abstract images and a narrative form. The video works that I have made so far are formalistic and visual, and I have a longing to add a narrative layer to it. I am fascinated by narrative structures that are non-linear and are not based on the direct action of a character, but on his or her psychological inner world. After all, the complicated inner world of man is not linear, but fragmented and contradictory. I want to deepen this by investigating the narrative structures of Roy Anderson and diving into the work of Federico Fellini. In the case of Anderson, because his story structure is characterized by a fragmentary approach and Fellini because he masterfully captured both reality and fantasy in his film language. In this way I would like to investigate the following question: in what way (technically and substantively) do Fellini's absurdist scenes enter into a dialogue with the realistic scenes? This can help me with my own video language, as I want to alternate realism and absurdism without the works losing their sense of unity. With the making of THIS IS US, I wish to develop a narrative structure that combines the concrete with artistic freedom, accessibility with innovation and intelligence with emotion. Because how do you create a story that is as clear as possible, while creating a lot of artistic freedom on a visual level? How do you ensure that the viewer does not experience an "anything goes" feeling? That the artistry of the video actually reinforces rather than hinders the story? Where do the suspension of disbelief and artistic wonder meet? I now imagine THIS IS US to have a dramaturgy in which tableaux vivants show the inner emotional world of the characters, in combination with realistic situations. In that sense, the video will play with the dividing line between realism and fantasy, the real world and the playing world, and between story in language and story in images.

Timeline

DEC

this is

this is us

intention of new work THIS IS US

What do I what the thesis to do

JAN

1) solo (I (me-mine) mode of address)

2) duet (we [us -they- their's] mode of address)

3) quartet (we+ [us -they- their's] mode of address)

FEB First Draft

MAR Second Draft + physical layout

APRIL DEADLINE