#183 The Prince’s Seat
Billy Sassi
30.05-28.06 12-6pm Thurs-Sun or by appointment
Manual for Constructing Theatrical Scenes and Machines - Nicola Sabbatini, 1638
It depends on how you look at it. As a rule, an object viewed from up close appears much greater in size than the same object viewed over a large distance. The shrewd handling of perspective to manipulate perception of space and scale has existed since at least ancient Greece and Rome. Seen in theatre, film, and architecture the technique is used to create the illusion of space, altered stature, and exaggerated grandeur.
The object constructed in forced perspective aspires to be more than it is. Success for this performed grandeur is contingent on how it is perceived when looked at. Forced perspective only exists in the perception of a viewer; the object requires an audience, as it can only see itself as it aspires to be seen in the returned gaze. The object authenticates itself in a dynamic of looking and being looked at, seeking to observe in the perception of others that it is being seen the way it sees itself. From the perfect seat, everything lines up just right. From any other angle, the object’s own role-play and longing takes centre stage. It has skewed proportions and gestures unnaturally; constructing an image of something it feels is greater than itself.
Why do we have these desires, and how do we get close to them; would dressing in his clothes work; is standing like this convincing; and what are my lines, again?
Henry V, 2026. HD digital video, 19.50 mins, looped.
Actor: Andrew Reeve
Camera and Sound: Philip Speakman
Direction, Writing and Set: Billy Sassi
Suit of Armour: The National Theatre
Documentation Images: Gillies Adamson Semple
An enormous thank you to Andy for his wonderful performance and dedicated enthusiasm for the project, and to Phil and Anaïs, whose contributions were indispensable. And a thank you to everyone that has donated and lent kit, knowledge and hospitality: Anaïs Comer, Chris Trueman, Em Tanner, Gillies Adamson-Semple, Harry Smithson, Joe Moss, Jo Evans and Chris Speakman, Philip Speakman, Rae Jones and Outpost, and Roman Shepherd-Dawson.