The Twitter Section

photo by Eileen Long

Twitter Twitter Twitter
Tweet Tweet Tweet
Chirp Chirp Chirp

An Explanation of how your Tweets are in Opposition.

What it looks like:

There is a screen at the back of the stage and live Twitter feeds are projected onto it.

What I do:

I read out the feeds and make a kind of performance text from the montage of tweets.

Whose Tweets?

The feeds are live and the account is @OppositionSilva – so if I follow you from OppositionSilva and you tweet during that section of my performance then you’re in the show.

I follow lots of people – mostly politicians/journalists/cultural commentators/interesting bloggers/news channels/funny tweeters/activists/people who follow me – Hopefully there’s a range of voices and opinions on the current day’s events.

If you’d like to be in Opposition follow me and I might follow you back. It’ll be like a party game…

Btw..on @OppositionSilva I don’t follow my friends and theatres etc – I follow my other interests from @HannahSilvaUK so follow me there for all that…

Why?

The reason for doing this live – one of the reasons – is that Opposition is almost entirely written using ‘cut-up’ writing techniques…(or montage/collage). Some writers have said that this approach to creating text in performance is appropriate to the ‘information overload’ ‘media saturated society’ etc….we are constantly ‘bombarded’ (sorry for the ’embarrassed to say these overused words myself marks’ ) by image and text from different sources simultaneously…TV/Radio/Twitter/Blogs/Facebook/Skype/Txts…

Combined this creates a fragmented kind of text. Sometimes I like to imagine my head cut open (I also imagine lions roaring outside my front door) and inside my head is this crazy kind of text from everything people say to me, every phrase, word, sound I encounter, all jumbled together.

So given the state of my head, this cut-up approach to writing seems appropriate. And who owns words anyway etc.

So that’s already been said and done before. But I thought what hasn’t been done before is someone getting on stage and writing this text live (actually it has, Living Newspaper, Russia 1917 ) But anyway that’s what I’m doing with this section. Showing how this cut-up writing method works in realtime. Sticking Twitter into the mix seems appropriate given the content of the piece and also keeps it current.

What if it doesn’t work?

Still working on that…I’ll either improvise the section based on previous tweets or skip that part and move onto ‘Er ih Oh-I-ih-ee’ while reading out the audiences’ quotes. If that’s clear.

Alternatively I’ll just sing: Twitter Twitter Twitter Tweet Tweet Tweet Chirp Chirp Chirp. And maybe through in a few ‘What’s Happening?’s

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2 Comments

Filed under Rehearsing Opposition, Theatre

2 responses to “The Twitter Section

  1. Pingback: Make room for theatre | Opposition

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