100 Keyboards, Asuna, The Substation, Melbourne International Arts Festival, Friday October 12th 2018

100 Keyboards, Asuna, The Substation, Melbourne International Arts Festival, Friday October 12th 2018

"100 Keyboards" by ASUNA was performed or exhibited at The Substation, Newport as part of the 2018 Melbourne International Arts Festival on Friday October 12th 2018.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

The performance began about ten minutes late, and finished about 9.35 pm.

Sadly the details for "100 Keyboards" was not printed in the Melbourne International Arts Festival brochure on page 62 as suggested by the FESTIVAL PLANNER.  This is because the brochure was not thoroughly proof read, and "THE THE" appeared twice and took page 62.  Poor project management and quality control for my liking.

ASUNA, a Sound Artist from Japan has many various shaped small keyboards arranged in a large circle with about six or seven in each branch radiating out from a central small lamp.  There was not much room to move between each keyboard.  Each branch had more room but still the space was cramped.

There were two sections of seating at either end of The Substation, with one end having three rows, while the opposite end had five rows.  There were six large red mats close to the circle of keyboards.

No pre-show announcement occurred and patrons were still on mobile phones either texting, scrolling or playing games throughout the duration of the show.  Patrons were also recording by taking photos or video of the show.  In fact one mobile phone beeped loudly to announce a message had arrived during the final minutes when the number of keyboards producing sound was reduced.   Yes, it spoiled the experience, but also highlighted the extensive invasion of technology on society.

The programme was a single A5 piece of paper with an explanation of the performance/exhibition of moire interference and pattern of sound.  "By changing the direction of the ears and/or while moving around the keyboards, complex interference and resonance in the space can reveal different sound."  The quality of the programme should have been in the Melbourne International Arts Festival consistent style, format and layout with information and production credits. 

The performer came out to prepare some equipment at about 8.00 pm.  He then disappeared and returned at about 8.10 pm and placed his bag against the wall, and his water bottle on the floor.  He held up the programme to ensure patrons either had a copy, or had read it.  What a shame - the announcement or translation did not occur  at this point to enhance and prepare the audience's experience.

The programme or announcement before the show should have explained that you could move around the space.  It looked as if two Japanese or Asian people knew the rules of engagement for audience, and they began the process of moving around the space.  By doing so, the audience began to move around the space.

Gradually, he moved around the keyboards, turning them on and adjusting them with small "icy-pole" like sticks. The sounds started off as one note, and gradually other keyboards were turned on and the sounds changed.

A lady sitting in front of me took out her mobile phone and selected an "APP" where I could see the screen with D3, F3 and G3 or similar numbers.  Her phone was recording parts of the performance and the screen was scrolling with sound waves as per a sound studio's recording equipment.  I am curious if it was the Moire Creator App that I found on Google.

The sounds did change when you moved to different areas as the programme explains the experience is "site specific".  Before I moved around the space, I would lean and sway in my seat, both sideways, and back or forth in my seat.  I started putting my hands to my ears in various ways to see if there was any difference- and there was.  I was brave and stood up!  It was interesting to hear the slight changes.  

I played around with blocking and releasing my hands against my ears to hear the different sound qualities.  I am glad that I gradually built up the confidence to have my own private "gestural dance".  When I did move around I played with my hands to my ears.  A few other people did the same, though mainly people either moved to different areas, while some people lay down on the floor.

I moved to: the walls; corners; next to the curtains; behind our row of seats; behind pillars; and behind the glass door.  I even went out into the foyer and through the door and slowly back in.  I experimented with different paces but not too much as many people were walking at the standard "audience" pace.   It was so much fun to play with the sounds with my body.  

I wanted to dance or move like I have not felt for years.  Sadly, I did not as it would have stood out and upstaged the performance.  It was a magical experience, and something quite unique.

Sadly, the metal stairs at The Substation are so noisy for latecomers that it distracted from the quiet opening.  The voices in the downstairs foyer echoed throughout the building.  The Substation needs staff holding signs "Quiet Please - performance in progress" as they do at 59E59 Theatre in New York and many other Off-Broadway theatres.

Watching Asuna checking his watch many times must have been to coordinate his performance.

Great festival fare to challenge and divide patrons - even partners as in our assessment of the experience.

Given all of my gripes, I was impressed and surprised with this work.

"100 Keyboards" obtained an 8/10 from me, while my partner gave it a 3/10.

Note the following is from the Melbourne International Arts Festival email:

You have tickets to 100 Keyboards on Friday 12 October at 8:00PM, at The SUBSTATION. We've put together some information to help you plan your time at this year's Melbourne International Arts Festival.

Be sure to bring your tickets with you. If you purchased Under 30s tickets or selected hold at box office when you ordered, your tickets will be available for collection from the venue one hour prior to the performance time. Arrive early to give yourself time to collect your tickets; no one likes a queue.

100 Keyboards runs for 1 hour, 30 minutes with no interval.

Public TransportSave the environment and take public transport. To plan your journey visit the Public Transport Victoria website.

We hope you enjoy your show—share your thoughts on social media using the #melbfest hashtag!

More Up A Tree, The Substation, Melbourne Festival, Saturday October 14th 2017

"More Up A Tree", The Substation, Melbourne Festival, Saturday October 14th 2017

"More Up A Tree"was presented at The Substation, for the Melbourne Festival on Saturday October 14th 2017

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and it is more of a stream of consciousness.

"More Up A Tree" was presented at The Substation, for the Melbourne Festival on Saturday October 14th 2017 and started ten minutes late.  The programme was not in the style of the other 2017 Melbourne Festival programmes as it was black on white rather than the white on black image.

The Substation was well renovated as a gallery and arts space.

A pre-show announcement was made to alert us that the staging for tonight's performance had changed for the Melbourne Festival and could only be viewed from the front.  This was not fair as it had been advertised that it was to be in a cube and should have been viewed from at least three sides.  Not good from a logistical, organisational and marketing perspective.

It was very hard to see the action due to the style of stools and seating on offer.  Audience members did move around as many struggled to see.  I guess this was part of the concept to see what people would do under such circumstances.

The show appears to play with the concept of voyeurism: who is watching who?  The dual mirror walls allowed us to watch the drummer and the dancer.  Then sometimes the lighting would changed and we would be watching ourselves in the mirrors and not be able to see inside the cube.

The drummer played well and was better than the dancing.  It was very difficult to see the dancer at times.  The gestures built up over time and reminded me of a Barrie Kosky's "The Dubbyuk" presented at the Malthouse Theatre.  What you could see reminded me of a ritual or shaking and gestures and lots of pacing back and forth. The pacing reminded me of Edina and Patsy from "Absolutely Fabulous" on a shopping excursion frantically seeking out their next purchase.

At time the dancing had Merce Cunningham style moves with angular arms and epaulement.  It was also a little like Nijinksy's "Le Apres mini d'un Faune"

Yes the dancer required stamina and appeared to be going mad in the cramped space of the cube.  To me it was like the word of the day: Exclosure (to keep wild animals out) as the mirrored walls allowed the audience to be caged and not allowed entry into the cube.  Thankfully too!  It gave the audience an opportunity to change positions from the uncomfortable stools to stand and move about.

As audience members, we were voyeurs watching the watchers.  The show reminded me of the zoo episode from the "Twilight Zone" where you enter the zoo and end up as a caged human. It was more interesting watching the Asian lady in the back row on her mobile phone for most of the fifty minutes.  Well, for the first time the use of mobile phones allowed a distraction from the show.  About five or six people just had to video the show at times - I guess they needed proof they had attended a show about voyeurs and being watched.  I was surprised to not see anyone taking "selfies" of them watching the show.

"More Up A Tree" was the type of show that used to have some audiences at the Melbourne Festival scream abuse or make vocal comments as they exited the theatre.  A few people left and then I realised they went to get a drink to quench their fifty minutes of voyeurism.

There was a show a few years ago at the 2012 Melbourne Festival where children were observed inside a space that we could see into but they could not see out of.  The show, "Before Your Very Eyes" by Gob Squad was a much more interesting and challenging theatre than "More Up A Tree".

"More Up A Tree" was presented at The Substation, for the Melbourne Festival on Saturday October 14th 2017.

I could not see this show running on Broadway!

"More Up A Tree" obtained a 5/10.