THEME SECTION SPONSORED BY HAIR AND NAILS
Uphill Spaces Downhill Spaces
Søren Olsen
When dancers collaborate with other dancers I have to assume there is a moment of instinct that happens when they first begin dancing with one another. They get on the floor for the first time, and within a minute of moving there’s this gut feeling in them that is saying “this is gonna be easy” or “this is gonna be tough”. This is not because one dancer is better than the other, or possesses more skill, let’s try not to put judgement on it, it’s simply energetic. It either feels like riding a bike uphill, or downhill. It will either take effort, or be effortless.
As a technician, this is a feeling I get when I walk into a given space or venue. From the moment I cross the threshold I am in an improvised dance with a space. Just like seeing that other dancer move on the floor, I’ve got to see every part of the venue’s “body” before I have a clear idea of how we are going to work together. The resources, accessibility, and architecture all play a significant part in my energetic “uphill or downhill” dance with it.
Uphill is the feeling of “this is going to be tough”. It means more improvising, adapting, and surviving. When I have to work against the space and the resources in order to accomplish the creators vision, it can become stressful and is always time consuming. This battle can be avoided with closer communication between the creator of the piece and their technicians. Had they been in venue-decision-making mode with a clear idea of what is needed from a technical point of view, we would have wound up in a “downhill” venue for the show’s needs.
Due to this I believe the creators, even before looking for a venue, should have some serious conversations with their designers, or with their own internal vision, about what the key technical elements will be.
LIGHTING
For example, I believe that in dance a “key element” is lighting positions. (Lighting positions meaning spaces to hang, plug in, and access lights.) Front, top, back, and side positions is pretty ideal. The more positions, or angles, the more ways to shape the dancers body with light. If the venue doesn’t have these positions, or options for temporary versions of them, it will be an “uphill” experience trying to achieve the desired look. I love Add-on lighting elements (like LEDs with massive color options, or moving fixtures that can add motion to the lighting vision) but without the fundamental positions to put the instruments, these are just flashy selling points.
THE GRID
Both lights and sound hang off of what is typically referred to as “the grid”. Oh, how I love a good grid. In my experience, for most technical visions, having a well distributed grid is a complete asset. A grid typically looks like a skeleton; it’s the pipe running above and around the space with things attached to it. Seeing a grid is a great sign that this venue and I are going to play well together. It means there’s a variety of positions for light, and there are points for hanging additional soft goods, speakers, or scenery. A grid makes me feel like I have options.
Below the grid sits the floor. The floor needs to be in good condition and safe. Is there enough space for the dance? Is it safe to roll, dive, and slide on? Are there any floor pockets or circuits available for lighting?Are there any trapdoors/hydraulics/revolve options?Where is the nearest mop bucket and sink? An unkempt floor is a safety hazard for dancers, and technicians. Most dancers I know are pretty good at sussing out a floor.
SOFT GOODS
Off the floor rise the curtains, or “soft goods”, if the venue has them. Curtains are a way of framing and dressing the space. I love a curtain that is easily adjustable; “Travelers” have the side to side, open and close functionality, and a fly system is a good sign the soft goods can move up and down. Curtains can be used to create wing space, a backdrop, a proscenium arch, and/or masking in general, but only if they exist in the size and shape needed. Practically every space uses unique sizes of curtains, and many curtains are made of different materials and are in different conditions. I would try to avoid the often tricky situation of having to track down a matching piece of soft good by asking for the venue’s soft good inventory first.
SOUND
Sound is another “key element”. I prefer the venues that can get loud and bump, big or small. The only way to find this out by turning on the system and playing something through it. I believe that audio systems should have a quick way to access the general playback. Whether it’s and 1/8” headphone jack, or a booth computer, there should be a “plug in and play” option. I listen for well-rounded sound. If the music is bass heavy, I listen for a sub, or the speakers’ ability to capture that low range. I listen for how the sound makes me feel. Does it feel good? Does it feel weak?
OFFSTAGE SPACE
Speaking of masking, places to hide and put things are one of my favorite attributes of a venue. Most dance work doesn’t require space for scenery, but does require space for bodies. The more places a performer has to run off and hide, means the more spaces I have to hide a light, or speaker, or another technician. Wing, or offstage space, can exist or can be added with soft goods; other times these options are built directly into the architecture. Choosing a venue that supports the offstage flow of the dance can mean saving myself from improvising guerrilla solutions for making crossovers or other masking.
THE BUILDING
Finally, the physical building. The bathrooms, the lobby, the parking out front, and the loading area, are all important technical and energetic considerations. It can be exhausting working in a venue where every corner is sharp and short, or where the venue is 8 floors up in an elevator, or where the space sits right next to a rock n’ roll venue. All of these examples add to an “uphill” energy for me while working in a venue. Simply, it’s not fun to be working and feel as though you are “fighting” the physical building and it’s architecture. Something as simple as having a place to pull up a vehicle close by and load and unload can make a world of difference.
ALTERNATE SPACES
“But wait!”, what about guerrilla/DIY spaces like studios, basements, or garages? “I don’t have the budget for a real venue!”. First off, sweet!, sounds radical. Secondly, the items are the same; they just appear a little different. I would look for: clip lights and lamps instead of lighting instruments, outlets/power-strips instead of dimmers, ceiling boards and ledges/bookshelves instead of a grid, drapes and bedsheets instead of curtains… oh, and the if there are speakers, they should definitely still sound good. I have found the main limitation with process (not product) based spaces tends to be power. With lights/sound/projection all occurring you can draw a lot of power quick. Most DIY spaces only have a few “circuits” or wall outlets, and each are approximately 15-20 amps. 1800 watts of power per circuit is a safe number to work with. Make sure to consult with a property manager and a technician, or closely read the power rating on the gear, if trying to accomplish a highly powered show in a non-performance space.
I categorized these details into three main umbrellas for consideration when choosing a venue: resource, accessibility, and architecture. The combo of these three manifests as the energetic feeling of “uphill” or “downhill”. If the resources are incredible (really cool lights, great sound, and soft goods) but the architecture and the accessibility are terrible (the lighting positions are bogus, the booth is a closet in the corner with a bad view of the stage, it’s a bad location with no parking nearby) the tech is going to feel more “uphill” to me. A well thought-out venue makes my job twice as easy, or “downhill” to pull off the creator’s vision. Now, don’t get me wrong, it’s always fun to ride a bike, and it does takes work to make it to the top of any hill, but if you do, the way down is an immensely enjoyable ride for everyone.
Søren Olsen is a Twin Cities based performance maker and designer. Career highlights include collaborations with Robert Wilson, Martha Clarke, Rinde Eckert, and Dell’Arte Internation. Next up: REd Eye’s NW$W Festival, and creating a remote, sustainable, and adventure-driven artist-in-residency site near Hovland, MN. www.designsbysoren.com
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