2nd Practical Exploration

Evaluation on my 1st exploration

Previously in my first practical exploration, I experimented with geometrical shapes and created visual effects which reflect Robert Wilson’s works. I focused on understanding and embodying his objective of creating an ‘architectural arrangement in space and time.’ Through the previous exploration, I realized that it is crucial for an actor to set an interesting relationship between him/herself and the space. Moreover, as Robert Wilson claims, the actor should think about space in order to ‘inhabit’ the space. In my opinion, ‘inhabiting space’ requires much more effort and deliberate technique than ‘setting an interesting spatial relationship,’ because ‘inhabiting’ is more long-lasting concept. The actor might have ephemerally created an interesting spatial relationship by positioning her/himself in an interesting place, but not possessed the space entirely and capture the tension on stage. Looking back on the footages and photos of my first trial, my peer mentor and I both evaluated that my spatial awareness contributed to creating pleasing visual effects;however, it was clear to both of us that I did not inhabit the space. My improvisational movements were slightly mismatching with the screen images in motion. As a result, the movements looked a bit awkward.

Improvement in my 2nd exploration

In the second experiment, I continued physically exploring his objective. In addition to strokes and geometric shape, I experimented with the body itself: the entire body, arms, a leg and foot. The purpose was to relax my body and get myself comfortable with working with projection by developing my kinesthetic response and exploring how the body can create a shape .

1.Immobile Images


Taken by Sunhee Cho. I filled the screen with gradient blue.

(Thoughts:symbolic of deep ocean?)

Me inside a square in blue gradient. The size of the square could have reduced to fit the square with my body. (after thoughts: signifies oppression? captivity??)


2. Shadows

Sunhee’s Foot. Taken by Sunhee Cho

I also worked on developing my kinesthetic response to shadows with the help of two classmates. Once we turned the projector on, one classmate stood closer to the projector while me and the other classmate stayed closer to the screen. We played around with the variation in distance and improvised in response to the big shadow (external stimuli).


Robert Wilson said that space does not exist merely to ‘be taken for granted.’ My 2nd exploration increased my spatial awareness and guided me to utilize space and develop gestures and movements that are appropriate to the space and shadow images. This will certainly helped me to “establish a gestural language” appropriate to my theatre production.

Works Cited

Shevtsova, Maria. Robert Wilson. London: Routledge, 2007. Print.



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