Space Lab

We shaped the SpaceLab intervention to give the audience the same sense of curiosity and
excitement for our final performance as a teaser trailer would incite for a film. In other words we all
decided to present our ideas as very small scale performative concepts. This was a great way to
incorporate our audience into ideas without spending budget or trying to achieve something that wasn't
possible to achieve at a satisfactory standard, particularly with the time limit of four days we were given
to create this space.
s the idea of immersive performance is to interact with the audience in one way or another, we
chose a picnic style format as a simple and effective layout for this day. !y inviting our guests to sit down
with us in an informal space, with rugs, blan"ets and food, it invited them to approach us and discuss
concepts in an approachable way. In retrospect I thin" this choice may have been inspired by artists we
have been introduced to this term such as #a$ni Shah and the artists who collaborated on the performance
'With %ou' & in terms of audience, these artists frame their performance in an unconventional way, inviting
their audience to participate, interact, ta"e something tangible, sit with the performers rather than in front
of them or surrounding them & performances in which without an audience, would be empty of content
and meaning.

14 Chapters
'or the final performance it was important to focus much more on the fourteen chapters together
and how they would relate to and ma"e sense with one another, rather than each piece in its own isolated
detail. (y main focus throughout both SpaceLab and our final performance was the audience and how
they would respond to the happenings and performances in the library. )pon reflection, although the
atrium was crammed with six or seven of the fourteen chapters, I thin" it was the best choice to have so
many performances here, because it is the only large space where every library visitor, whether they are
visiting to use the library, or to see our pro$ect, will wal" through. *aving such a hub of activity in a
wor"ing space meant that if people were interested they were able to stop, observe, interact and yet also at
the same time, wal" by undisturbed. This is because all the performances we placed in the atrium were
simultaneously present and nonintrusive. 'or example, +olette was sat at a typewriter, offering the
audience to write letters to themselves which would be sent to them , months later. The audience
members were invited and welcome to interact with the events, but were not in any way forced or coerced
into doing so. -erformances that were more interactive, or re.uired their audience to participate were
placed in other spaces in the library, so that audiences could choose to ta"e that path if they were willing
and interested. 'or example, if audience members were interested in the /*eart0 which too" place in the
basement, they could read about it, tal" to ushers about it and then follow the arrows down to the
basement if they so wished.
1espite the fact that the broad stimulus of /invisible residents0 meant that each piece was .uite
isolated and very different, I believe the layout of the space with the simple use of red tape and lines to
connect all the performances, was a clear and simple layout that shaped the pro$ect into a coherent and
cohesive performance.