Into the Blue (Webster 334: 11/4/11)

Posted on May 22, 2011



Projection to be running before audience enter.

<Pool video is projected onto wooden floor panels at a tilt, directly perpendicular to back wall. Reflection from floor is visible at back wall>

Figure walks into space in large white t-shirt and striped shorts (variations of blue), carrying bath towel and plastic water bottle.

Figure puts items down on stage left, a quarter of the distance away from back wall.

Figure changes out of attire to reveal blue bathing suit.

Figure walks towards light projected on floor.

Figure stands at the edge of light projection, mid-stage left.

Figure looks at the water projection for a few moments.

Figure paces contemplatively toward the back wall and to the front.

Figure stops and crosses over the narrow section of projection onto stage right.

Figure walks upwards mid-way, and stops.

Figure faces water projection again.

Figure pauses.

Figure lifts right leg to ninety-degree angle, and extends it.

Figure dips foot, followed by calves in light. (Reminder: Do not let feet touch floor)

Figure holds leg in hanging position.

Figure retracts leg.

Figure walks toward the back wall.

Figure pauses.

Figure walks along edge of wall, into the light.

Figure opens door with right hand.

Figure pops head in.

Figure moves head to check left and right directions behind door.

Figure closes door and looks back into space.

Now, she is standing directly in the light.

Figure closes her eyes and she stands tensed, back on wall. Figure’s palms are also turned back, flat on wall.

Figure bends forward, as if to move into the inscribed space of water.

Figure retracts.

Figure turns to her left and walks out of the light.

Figure returns to her items.

Figure picks up her bottle (with nozzle) and drinks from it.

Figure pauses.

Figure squeezes water from the nozzle onto her body.

INTO THE BLUE | Webster 334: 11/4/11


To consider the human body around a body of water.

To replicate process as performance.

To extend interest of adaptation through emphasising particular moments.

To work out an engaging interaction with a light projection through visuals and suggestion of other space through the performer’s gaze and interaction with light and components of studio, e.g. the door.


Through different ways of acknowledging the light projection as a foreign water body.

For instance, bathing suit as attire, gazing at light projection on floor panels from the outside, standing at the edge of the projection, walking along edge of the projection, dipping foot into light through precise movement and not ever touching floor within projection.

Through audio of water – only sound in space.


Precise gestures and movements are essential to draw emphasis to important interactions.


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