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Third Angel presents

A Perfect Circle

A female human being performs a ritual: an attempt to describe a circle and an attempt to describe the world as if all you could see of it were the series of images carried on the Voyager satellites, the two furthest-travelled human-made objects from the Earth.

Credits

  • Devised by Christopher HallAlexander KellyGillian Lees and Rachael Walton
  • Performed by Gillian Lees
  • Music by David Mitchell
  • Camera and Edit by Christopher Hall
  • Production Assistants: Cristabel Horne and Dan Wray
  • With thanks to Sheffield Independent Film. Supported by Sheffield Hallam University and Leeds Beckett University.
  • Commissioned by Sheffield Contemporary Art Forum for The Sheffield Pavilion 2009.

Programme Notes: Circle Making

A Perfect Circle is one of several pieces of work to emerge from Third Angel’s The Distance Project, an exploratory process obsessed with time and with returning; with circles and cycles, with precision. The initial intention was to document the circle-making ritual that Gillian and I perform in 9 Billion Miles From Home, and combine it with a section from the devising process of that show that didn’t make the final cut of the show.

Most of our processes will throw up pieces of material like this - often held on to quite late into the process, and then cut when the show is actually being constructed from the material we’ve made; it just doesn’t fit with the rest of the material, or something has to be cut because the show is just going to be too long. The intention will usually be that this material will then find another life in something else (a long list of irritations survived the process of Saved and turned up in a phone box in Hang Up, for example), but in fact often it doesn’t. Out of context these sections can be difficult to transplant into another show or process (the lovely opening and closing sequences of a version of Hang Up that seemed to be about kidnapping were cut late into the process, and never found a home anywhere else).

The orphan material from 9 Billion Miles From Home was a description by Gillian of the world as if all she could see of it were the encoded images carried by the Voyager satellites. It was produced in a simple, task-based way - she saw each image one at a time and then described it: I can see… I can see… I can see… But as the Voyager satellites became a less significant element of 9 Billion Miles, this material didn’t connect with the ritual we were creating as the show. So it was abandoned.

Thinking about making a digital short of 9 Billion Miles From Home I was interested in using this text, rather than the semi-improvised journey texts that Gillian and I deliver in the show (I think perhaps I was wary of fixing them in a distinct work, born as they are, each time they are delivered, of a particular time and place).

When we got into Sheffield Independent Film’s studio we were still working out what the film was - how the ritual would be different to that of the show. Certain logistical issues meant we were already reconsidering the co-operative nature of the task (in the show Gillian and I are attached to each other via a pulley system), and we were wondering how the solo, personal nature of the text worked with the two person task.

At the very last minute (in fact later than that, the cameras were running and Gillian had started work on the circle) I took myself out of the process. I read an interview with Jack Nicholson years ago in which he observed that improvising on camera was fine because if it didn’t work, there’s always take two. And I’ve always believed that, I think. But in this case a single take was going to be 40 minutes long and would require quite a lot of re-setting. But it felt right - it suddenly made sense that this film (well, HD video) version of the ritual was more individual - a solo act of observation, creation and… what, yearning?

Needless to say, not all of the text made it into the final cut, but it is a key element. In the edit suite Chris found himself focussing on the detail of the circle making, losing the visuals from the shots of Gillian speaking completely, freeing the sync sound from the action and combining it with elements of David Mitchell’s music from the live work. The connection with 9 Billion Miles From Home is clear if you’ve seen both pieces, but I think A Perfect Circle stands as a new departure, another outcome of The Distance Project.

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