Research project reveals dark side of ballet world
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Starting a Darkfield show — the touring immersive audio experience once described as "a perfectly programmed high-art theme park ride" — is a surreal process. You enter a shipping container and take your allocated spot, which could have you sitting in an economy-class airplane seat for one production, or standing at a custom-built arcade cabinet for another. After putting on a set of headphones, the interior of the container goes pitch black — the kind of black where you can't see your hand in front of your face. Then, the performance begins. Montreal is currently hosting two of the U.K. immersive theatre producer's container shows. For Flight, audiences sit in an airplane cabin constructed inside the container with real plane parts. The floor moves to replicate the sensation of being airborne. In an exploration of quantum mechanics, Flight takes audiences on a plane ride that may or may not be crashing — in many worlds, they will land safely. For Séance, participants sit on either side of a table that runs the length of the container. The audience's beliefs are challenged once the supernatural ritual begins and they find themselves no longer alone in the room. "Everyone has an expectation when they go to a seance," says Darkfield co-artistic director Glen Neath, "so the audience brings half the story with them, and it becomes about playing on people's expectations." To deepen the immersion experience, Darkfield captures its performances through binaural recording, a method that uses a pair of microphones arranged like ears to better reproduce the way humans experience the sound of a space. The result is a sort of auditory illusion: you feel as though someone has just passed behind you or is perhaps inches away, whispering in your ear. And given that you can't see anything, there's nothing to tell you otherwise. The goal is to create a story that truly involves the listener. Darkfield writes their narratives in such a way that each participant is the centre of the story. Prompted by the 360-degree audio performance, the audience member's imagination becomes the entire visual of the show. "I'd done a few shows using headphones," Neath says, "and David [Rosenberg, co-artistic director] had started using binaural audio with a choreographer he worked with. We wanted every audience member to be at the centre of the story … that's why we did it in the dark, because we could whisper into everybody's ear at the same time." He spoke about the effectiveness of audio at placing listeners in a specific environment that's different from their actual surroundings. In Ring, their first production, an actor introduced the show before it went dark, and the audience never really knew a recording had started. The audio instructed the audience to move their seats into a circle, but then whispered that they could also stay in their places. "Naturally, nobody moved," says Neath. But they included audio of chairs moving, so audience members felt as though everyone else was obeying the instructions, and that they alone were staying put. Séance was the first show the company created in a shipping container. "We wanted control of the environment," Neath explains. "When we were touring, if you weren't in a room the same size as the one the recording was done in, there was a disconnect. It didn't feel quite right." The containers allowed the creative team to control every element, from the spatialization of the audio to the set the audience sees as they walk in and what they'll continue to perceive as the room is plunged into darkness. Darkfield is aiming even bigger for their next project. "For our new show, we're making something inside, which will be partly lit, sometimes in the dark, sometimes light," says Neath. "And we're inviting some audience members to obey some instructions while others watch. It's early days, but we want the audience to be more involved." The logistics would be significant, but it would bring the audience even further into the show. It would also blur the lines between theatre and immersive audio even more. "We're still thinking about shipping container shows, too," Neath says. "That's our brand."
