With four panoramic microphones available, I decided to mic four points that I considered sonically interesting (photo 4-5): mic 1 at the lake, mic 2 in the forest to the right, which housed the nests of some birds and cicadas, mic 3 in the field grass, particularly in spots where I knew an actor would move, and mic 4 on the path where the audience would stop, near a basket where the actors and I had placed some objects, mostly materials found on site (pinecones, abandoned bottles).
The space was chosen according to the following criteria: sonic heterogeneity, field depth, and proximity to an electrical source. Regarding the first point, I found the soundscape of this place particularly varied: birdsong, the buzzing of flies and horseflies, the snorts and neighs of horses (there was a riding stable nearby), the particularly sonorous grass and tree leaves when moved, anthropogenic noises (especially planes heading to or departing from the Grosseto Air Force Base, 4th Wing, located about 10 kilometers away). The presence of a pond added further heterogeneity to the soundscape, with the occasional splash of carp and the rustling of reeds in the wind. Having more than 500 meters of field depth would allow me to set up my position at a distance from the audience, who would arrive from a path, making the setting scenically evocative according to my personal taste. Near this field there was a power generator used at night for a visual artist’s installation, which I could connect my equipment to.
Additionally, positioning myself in this location gave me the opportunity to collaborate and interact with the performance of four actors: Alessandra Cocorullo, Alessandro De Giovanni, Riccardo Dell’Era, and Beatrice Fedi. The improvisation was preceded by a theatrical performance where the four actors and I invited the audience to reflect on the meaning of “threshold” and “kindness.” Of the four actors, three were lying motionless on the ground (and would maintain this position throughout the performance) while one performed a choreography as I electronically manipulated an audio recording using the mixer and a ring modulator.
Thus, during the process of choosing the location, certain criteria were considered. The mere fact that a choice was made indicates that a degree of my artistic control over the performance remained. I believe that my assumption of control during the setup phase was, in fact, a key to being able to relinquish control during improvisation. Moreover, some criteria were dictated by factors beyond my control and by the close relationships within the artistic ecosystem of the residency, such as the presence or absence of a generator and the willingness to collaborate with other artists.