The idea was to build a place for performance not following the conventional behavior of being a proscenium. Having gone through the book ‘Beyond the Proscenium’, it was more clear as to what comprised a typical stage for a performance, that even the performers wanted to break out of.
My design was about creating a clearing within the urban forest that was designed using the Miyawaki technique. This clearing that was created was the place of performance.
Keeping in my mind the pandemic parameters, essential public services such as toilets were to be distributed all over the site, to make sure that large crowds weren’t encouraged at a point.
For my site, the program comprised introducing the forest using the Miyawaki technique all over the site. Taking it further, I decided to retain the existing site elements meant for seating. These included certain L-shaped and spherical-shaped seating areas.
The basic services required for the performers that were to be incorporated include the green room facilities, separate for male and female performers, and an attached toilet. The idea of providing an attached toilet was also identified after reading through ‘Beyond the ‘Proscenium’, which did discuss the lack of facilities being provided for the performers. Furthermore, performers need to have their own separate toilets which they might have to use while they already in the process of getting ready.
The other facility that needs to be incorporated includes the presence of a technical room. That is necessary because the space of performance is open and is prone to weather changes, as well as there is equipment that needs to be kept safely in a closed environment.
The type of performance space that I have decided to go ahead with is also based on the various Visual and Spatial relationships that I completed, along with the research on performances unique to the community, and my earliest memory of a performance. The performance space is to be open in a way that a relationship with the audience can be established by the performer. This is somehow realized through the jugalbandi that is created within the dhakis and the dhunuchi dancers in the spirits of Durga puja, wherein they create an aura within the open environment. Not only a group performance, but even if it is about a solo performer, or a troop performing in different spirits, they should be able to have a hold on the audience and a chance to create a relationship with them.