Experiencing Space/places

Space is one important aspect among various relationships in connecting forms of need. Observation in performance or real life, as well as the continuity between two points, forms a new dimensions. Between one point to another is called distance. Yet, in between the points there is space of probability.  For instance, a pedestrian walking to a shop. We clearly know that his intention is to go to the shop, and yet there are many possibilities of what may happen during his walk to the shop. In each one of us there is space. Namely, positive and negative space. The positive and negative space happens by way of nature, be it intentionally or unintentionally. The creation of space towards a specific person is because of one’s purpose and desire. Space is mutually connected with the concept of perspective, distance, or width of a specific area. Almost all objects or images can be seen from the angle of front, back, above, or below. The space which is performed in a stage production is normally showing the width in the form of size and distance. This space concept has the position of perspective of vanishing point in which this perspective is divided into three kinds of perspective: perspective vanishing point one , perspective vanishing point two, and perspective vanishing point 3. Normally this aspect is seriously emphasized by an artist. It is also influenced by the life of a society, in which there is a big possibility that there is no realization towards their own space and also amongst one another.

From the aspect of performance, space plays a primary role in deciding where to go, where the place is, and why is the action put there. These questions are always in the minds of choreographers and the dancers; especially when most of the dancers will perform more towards frontal. One dance production that caught my attention towards the use of three dimensional was a Mak Yong (Malaysian Traditional Theatre)  performance where every dancer needs to perform the dance movement or storyline towards the direction of the circle, which is intentionally created by the creator. The original concept for this Mak Yong traditional theatre influences the space which is very dimensional where the various angles is always seen as the primary space. For example, the crew that takes care of the space at the side of the stage is also where the main audience sits. Therefore, the openness of space between performer and audience is larger. If we look at it from the perspective of stage performance, in an arena stage, which is more three dimensional, the understanding of the individual towards the space is more difficult because the openness is clearer and more visible. It can be seen from various angles: the left, right, front and back. This three dimensionality also requires perseverance of the performer to understand the control of the space on stage which is positioned for them.

There exist two main aspects through my own experience as an observer. Each individual realizes the space that they have in each of them, yet most of them do not really understand the purpose of the space towards their own lives. Because each individual has the openness, or potential, for other people to look at them, the area of the performing individual is higher because the observer  can afford to watch from various angles. The observer also has a strong connection with the three dimension stage concept, because the audience can watch from different angles. Yet the use of space in the Mak Yong traditional theatre is mostly in a circle. The first time I saw this, I sat in the front row. From that perspective, I saw the performance as totally conquering the stage space because each of the spaces between the dancers was full of various movements and touches amongst the other dancers. Yet, when I changed seats to the right side of the stage, it was less attractive because the dimension that was being exhibited had no variation in dance (stereotype).

Overall, the space does not necessarily have to exist based on the observation of what the eyes can visibly see. For example, a blind man who is experiencing space in the dark has specific limitations to move from one point to the other.  I practice closing my eyes while walking towards the kitchen of my house. I must grope, feel, and touch every space and it make more unexpected o. I must smell, as well,  to ensure that the purpose of my  going to my kitchen is achieved. Roughly, the journey from one point to another point has many various kinds of effects towards different spaces through touch, feeling, smell, and vision. Perhaps the closed up space that I am feeling is different because if I open my eyes the openness is clearer and expected through a strong visual sense.