WHEN WE GROW UP WE’LL BE OLD is part fictional documentary and part fantastical adventure achieved using the processes of live film making, as theatre.
The narrative follows the adventures two 15-year-old boys and their fantasy world counter parts from the perspectives of their 25-year-old selves and the ‘God’ like fantasy narrator. The adventure ends in a game like structure which decides the fate of the characters friendship much to the consternation of the 25 year old selves for whom their very existence is brought into question.
We will create a complete fantasy world which will be an amalgamation of existing sources from fantasy genre. The narrative will follow game structures taken from LARPing (Live Action Role Play) and war games like Warhammer, Dungeons & Dragons and World of Warcraft, combined with fantasy elements of Tolkien’s Middle Earth. This will feature alongside a psychogeographical study of the different areas in which we grew up. We will use live feed technology, green screen and a number of bespoke and mechanical miniature sets in order to create a multi-screen cinematic experience in which the final image(s) are only as important as seeing the processes of its manufacture. By establishing a theatrical language through live filmmaking we will successfully communicate signifiers for three different but parallel worlds; The one of the fictional documentary, the fantastical and the concrete. This will help explore the works principal concern which is an interrogation of fantasy and the role it plays in youth, friendship and theatre itself.
Scenes will be constructed from a number of screens with live feed models, machines and actors working simultaneously. As with Letters from another Island we will also see the process of the films creation.
- To follow the successes of Letters from another Island by creating a series of mediatising performance machines.
- To depart from Letters from another Island in a mode of presentation that does not place emphasis on the final image but numerous simultaneous mediatised images and the presence of the non-mediatised performer.
- To create an ‘adventure’ narrative using existing fantasy novels, Heavy Metal, Warhammer, LARP-ing and The Adventures of Tom Sawyer by Mark Twain alongside autobiographical material which will provide a description of friendship, youth, growing up and its relationship with escapism and fantasy.
- To continue to establish and reinforce the principals of Almost Human as theatre making venture and original aesthetic.
- To explore the fantasy/’geek’ subculture in a critical and rigorous method in order to expose and celebrate it.
- To invent a number mechanical models which pay homage to the ingenuity of lo-fi special effects in order to question the real worth of CGI and of high budget special effects.
- To establish an effective format for performing with multiple screens.
- To describe the rhetoric surrounding the usefulness of escapism and reality.
- By using this method how do we create 3 modes of performance in which effectively describe the boundaries between 3 worlds: The real world of live filmmaking where the process is laid bare as theatre, the fictitious ‘naturalistic’ world and the fictitious fantasy world?
- In what ways do the mediatising performance machines support the modality of these worlds in order to promote a greater marriage of form and content?
- As in Letters from another Island the process will take the approach of simultaneous organic development between the text and the mediatising performance machines with a view to promoting a complimentary relationship.
- Once these are fully developed we will have a detailed score, story board and mediatising performance machines. We will then go into rehearsals using ‘machines’ we will attempt to achieve the scores.