Scene II
A brief history of recording the body in motion

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The scene features surveillance camera footage of performances executed during the show. This segment presents research on groundbreaking experimental photography examples that captured bodies performing various actions before the camera. The creative process revolves around the concept of the technical image of the body - the body as explored through the lens and the limits of perceptual capabilities. For the installation design, the scene was conceived with translucent screens that simultaneously integrated live performer actions with infrared projections of photographic animations, while physically separating the audience circulation space from the performance area. This was achieved through custom infrared projection and lighting technology.

PRELIMINARY NOTES*
This scene will employ IR projection and mapping, stop-motion animation, stroboscopy, shadow play, and other techniques. It functions as an observational scene within a CCTV environment - the audience only views performance images through their smartphone screens without interaction, effectively transitioning them toward the next scene.

Here, performers bring photographs to life (as rehearsed at CETC using Muybridge and Gjon Mili's photographs as reference). We aim to reconstruct famous chronophotography and stroboscopy records (Marey, Muybridge, Bragaglia, Edgerton, Mili). The audience enters this space after completing the group portrait activity in the previous scene.

In this scene, The Spectrum ceases to be visible, becoming only a voice in the room's space or through audience smartphones' speakers. Hypothetically, we're illustrating that principle where "...the camera's eye would see clearly what the human eye would find only darkness."
 

*Transcription of Augusto Zanela's preliminary notes for the scene's final design