Wednesday, July 20, 2011

Language exterior

I have been considering the idea of a live narrator for Children's Games, specifically an 11 year-old boy at a podium, with a light. I've been writing a variety of texts for this voice. But now that I've edited a rough cut of the first two acts, I'm attracted to the mystery of a non-linguistic unfolding, a flow of sound. Going back to Chion's definition of "ritualized cinema": "a cinema where sparse and sober dialogue, as well as the minimal place accorded to music, frees the ear and allows us to hear how sounds and the movement in the image organize time."

Obviously, the conflict/layering/confrontation of texts with tangible images produces something entirely different from either element on its own. I'm interested in the capacity for parallel narratives, non-overlapping areals of information. ...but language is a powerful tool, with the potential to overwhelm. I want to retain uncertainty regarding the narrative, even amplify it, make it stranger - I want to avoid overdetermination. Narration has the possibility of turning dances into explanations and images into illustrations. So I am carefully considering a spectrum of options. What if the narrator uses only parts of words, nonsense, sounds, repetitions? What if the narrator is a disembodied voice? What if...?

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