New Script.

After writing the second version of the latest script (not the one i have been progressing with Jools and Ed), I have stripped it back and placed out the central ideas on a visual map, with no designed linearity. The working title of this piece is called 'I, Exi s t'. The focus of the piece, as discussed in previous posts, is to created a figurative and embodied performance centered on Donald Craftons idea that character is built equally on behalf of the audience as much as the designed performance and narrative created by the auteur. The embodied performance will be pulled back to the dialogue. Although the theme is about embodiment the character does not refer directly to my conversation about performance, but rather, his own conscious insecurity based on the confusion of not understanding his environmental experience - his confusion. The reason for the pulling back of embodiment to dialogue is for two reasons. Firstly, i want the audience to believe the character, and prove that Crafton is right about embodiment being internal and external to the performance. That performance in animation, and of animation can be used to create an embodied character without relying on a fully embodied performance. Secondly, the last line is the most significant.

'and then i remember (he has been confused throughout by this point), i remember, i don't know who i am'

For him to finally remember that he doesn't remember, both allows the confusion to remain central to the theme and also allow the audience to emote with him. By having rational thought throughout the dialogue driving embodiment, his performance can remain figurative with some emotive gesture. So the second reason is the concealment of facial expression - when he remembers he doesn't know who he is, his face will be revealed to be blank. 

The content has been inspired by figurative narrative ideas that drove Betty Boop - mock, figurative stories that suggest her background was of our world (documentary as if having relationships with other human performers) as Crafton describes. And significantly by Ryan directed by Chris Landreth, which i will discuss in more depth in a later post. He interviews Ryan Larkin with abstract and surreal environments and actions that explore his life. The interview component of the narratives is used in my piece, the character is talking, but we never really know to who (the audience, another concealed from the narrative or himself), and as you may well of worked out by now from the above graph, is about confusion, perception, existence, experience and memory. I will post the reworked script later.