A hidden parameter in the concerto form is the role of visualisation: the way the audience looks from one focus (such as a soloist) to another focus (the conductor, orchestra, other ensembles or environment). This visualisation is dependent on another important aspect of the concerto performance: the position of the audience in the performing space. In the early Baroque period visualisation was defined by architecture and dedicated spaces for performing in that architectural space, such as church naves. In the Classical and Romantic periods, the audience was outside of the performing space. They, like all other aspects of the orchestra and soloist, had their place. In a sense, the classical concerto highlighted partitioning. The Romantic orchestra took this partitioning one step further by making the concept of space psychological. Space became reflective of inner spaces, the soul’s journey into dark and light spaces. It is not too difficult to see how the visual presentation of these historical forms preceded the use of screens in performance. The screen is another visual element.
Visual presence, via the screen, will have implicit resonances with our personal relationship to screens: super 8 movies, slides, cinema, drive-in movies and billboards. A mobile phone screen demands a different engagement than a cinematic screen or a home slide projector. A three-dimensional immersive screen is remarkably similar to the Baroque architecture and their embedded performances.
The following examples and links have been included to give potential applicants ideas for Sections E and F for the Innovative Category.