SWOT analysis with Aine post CJA at Shift H

Overview
- Although I am dealing with issues that can be seen to relate to postdramatic theatre, CJA is very dramatic
- the black footer focused the eyes ion the human NOT the performer
- It obscured the technology and therefore 2 of the performers
- due to pros-arch the audience were forced into their normal role;
- there was no immersion as no surround
- normal density of signs (Lehmann)

STRENGTHS

• scale
• attractive visuals
• 'slick'
• normal density of signs ~ no confusion with spectators role and engagement
• not handed a pre-digested narrative

WEAKNESSES

• Audience removed from the performers
• framed - lacked immersion
• audience relegated to the normal engagement role
• watching something/ looking at something
• the gaze went through the 4th wall at/upon an event
• recieving the visuals and THEN the aural

OPPORTUNITIES

• mind and music PRIMARY mediums
• did the lack of visuality give the lighting designer a lack of confidence which forced him to fill the void?
• any visual statement is TOO powerful ... they need to make room for the mind
• IS THEATRE THE RIGHT PLACE FOR THIS?
• more immersion
• What was it about Farruquito at Sadlers Wells in 2004

THREATS

• The visual void - do not fill it
• Is the black box/ pros arch paradigm the place for this?
  

REFLECTIONS:

If we are to pursue this investigatory line with Ciaran as Lighting Designer then he needs the opportunity to explore the meaning of the work and his engagement with it.

Furthermore: if we are going for the 'cinema meets theatre'-ness (Cruden) then we need to employ televisual projection of the je and cv.
The big question here is were is this taking this research project?
Am I satisfying others need to make it visual?
Does this digital performance territory help inform digital opera?