How do you know what you know?
The audience gathers in an outer room, a simple space adjacent to 'The Cave'. They are not permitted to see The Cave which is a simple circular set 10m in diameter. The audience are individually blindfolded and each led into the Cave, with 30 seats arranged in the round with an intimate performance space close to participants. The audience is not permitted to see the performers, but they may use their recording devices to record the performance.
4 artists perform individual songs/performances and duets in a 30 minute set. Digital imagery is projected onto the walls of the Cave. There are no introductions to the performances. On completion, the audience is led from The Cave into the outer room where they may remove their blindfolds, compare images of the performance, share opinions on who the performers might have been as the performers mingle with the crowd.
The rationale for the performance is based loosely on Plato's 'allegory of the cave' from The Republic. This is an illustration of how we construct knowledge based on what we perceive rather than an objective assessment of what we know. Audiences must reconsider their physical relationship with performance and the sensory limits of 'knowing'.
- Venue Format
- Hall, Black Box Venue, Outdoor
- Technical Rating
- Touring Party
The performance requires the use of local volunteers (up to 10) to lead the audience to their seats. Many audience members feel vulnerable at this part fo the show, so some instruction (by the producers) will be required.
We That Are Left is a collective of multi-disciplinary arts activists who seek to explore and provoke thinking on human existence. WTAL was established in 2015 by Queensland architect and arts advocate Phil Smith based on the idea that at anyone one point in time everyone is a part of the collective.
WTAF's most recent production 'The Cave' received and Anywhere Award as part fo the Anywhere Theatre Festival 2018.
Unique Selling Point
The performance is an illustration of how we construct knowledge in a digital era which is still based on what we perceive rather than the illusion of an objective assessment of what we know. Audiences must reconsider their physical relationship with performance and the sensory limits of 'knowing' engaging a range of senses to fully understand the performance. The experience is also driven by curiosity of not knowing what or who you might see perform. This also includes to opportunity for local, emerging talent to be perform with seasoned touring artists.
Video material from inaugural performance, support video imagery used as projection from inaugural performance, photography, film and images or audience and performers from inaugural performance, graphic design material from inaugural performance.
Shows can tour in metropolitan, regional or rural settings. In each setting an opportunity will be available for local talent to collaborate and rehearse (as well as perform) a piece within the Cave setting with seasoned musical performers. It would particularly suit emerging performers looking to build recorded content of their performances. Multiple performances within a district will allow for rehearsal time before or between shows. The cultural legacy of the show includes contemplation and understanding of knowledge new understanding and relationships built on trust (audiences led blindfolded to seats, etc)