Power and Stalking : Week Four

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‘While baking we were brewing’

Monday of Week Four. Conor and I are at my house, baking vegan cookies. Though they didn’t quite end up as planned, we got brainstorming. Over the weekend I started growing a map of ideas on my wall, and I shared these with Con, who being wonderful, was an abundance of ideas.

Our discussion centred mostly on the idea of ‘the woman in the red dress’, and it was clear red was going to be a visual motif throughout our journey. Conor brought up the premise of stalking, and how it might be powerful to have our audience follow someone who they might not know to be a performer or not. We like the playfulness of ambiguity, and how to follow and lose someone is gamelike. Moreover, we discussed making our journey cyclical, beginning and ending in the same place, alike to Trigorin’s cycles in life.

Quickly the form of our journey took shape, however we still lack some sense of what we want to say through our headphones. We discussed ideas of romantic desire, but also Trigorin’s desire to regain lost youth. These two motifs, and how they present the interplay between personal life and art, seem core to our journey as we develop it further.

 

Trigorin : Week Three

big_map

POWER

Trigorin is controlled by his art  vs. Trigorin attempts to regain control through people

He seeks artistic gratification but has ‘sold’ himself out to commercial celebrity

sell out vs. magnum opus

Is he a psychopath?

Sexually driven male predator

Disappointed with life – bored

How does he sit in the creative world?

 

Notes

End of week three. I am now in the Trigorin journey group with Conor. It still feels silly to refer to us as a group, but we immediately got down to brainstorming who we though Trigorin was in relation to the overarching theme of what it means to be an artist. Power was at the core of this, and we came to discuss how we could get the audience to experience a gaining in power and then its withdrawal. We also discussed our journey as Trigorin’s ‘reckoning’, as well as how we could use games.

Our next steps are to continue this and develop what kind of journey we want to form, and what experience we wish to design for the audience. We will be going to Regent’s Park next week in rehearsal time to also discern some geographical locations we might use.

Moving the Characters : Week Three

Test with Height Zero, Colour 0,0,.26, .75,

Playlists

Character playlists:

Masha: https://www.youtube.com/playlist…

Konstantin: https://www.youtube.com/playlist…

Nina: https://www.youtube.com/playlist…

Trigorin: https://www.youtube.com/playlist…

Arkadina: https://www.youtube.com/playlist…

 

Notes

Arkadina. Poised. High. Wide kinesphere. Controlled but not sustained. Shoulder.

Konstantin. Sluggish. Fluid. Low. Ribcage. Aggressive but short-lived.

Masha. Forward but pulled back. Aggressive. Sort of like a punk tumblr girl. Mid. Stamina-based.

Nina. Light. Feet. High. Non-Directional. Airy. Hollow.

Trigorin. Pre-determined. Feet. Explosive. Animalistic.

Chris Brett-Bailey : Week Three

This was so inspiring.

Ole – John Coltrane. Like an out of body experience. It evoked a memory I still can’t remember, but I recall the feeling of it.

His views and words and voice were captivating. His outlook on life and art was so organic and honest. So without apology. It made me realise how often I apologise for my art, for its inconvenience, for the discomfort it provokes. I’m not going to do that anymore.

Layers of sound. Sound as material. Sound as a tool for manipulation.

Ask yourself the hard questions first. They help define what you are and what you make.

Also immersive theatre is shit.

 

 

ZUUK Session: Week Three

After spending a day surrounded by work that is of real interest to my practice, I found it hard to get back into the swing of things. However it felt good on such a beautiful day to get out of the classroom and be wandering.

Being Led Through Text Messages

This exercise, though you are being led, instates a sense of power within the participant; you are experiencing the world on a deeper level than the strangers who move around you, and being in the knowledge of the performance and its imaginative world provides a security net for yourself.

It is half as important how the audience interpret it. When we were told to find hidden spaces I was back in school, in between the Embassy Theatre’s two back doors. It’s a different kind of hidden space, and it was wonderful to have this realisation about it.

Phone Call – with Kalina

Though this was a super short experience, it really stuck with me. I felt the importance of trust in guidance, and tonality as a tool for incentivising action, as well as invoking emotion. Though I didn’t realise at the time, this will become useful in the devising of our  script for the character of Trigorin, as Conor and I intend to provide an emotionally imposed experience through headphones.

Headphones, Narrator, Facilitator

Though at first this task felt convoluted, with too many extraneous variables, it was a lot of fun and a challenge to use facilitation through texting, alongside a narrative piece of spoken word. Over the head headphones provide an enclosure, providing a literal headspace in which the participant can absorb the story, but also engage with what the facilitator tells them. Being paired with Beth while Alina narrated Arcadian meant I immediately trusted Bethany more, and it was clear she felt the same. We both use the facilitation to contrast with Arcadian, and provide a sense of freedom that the character’s narrative doesn’t come close to.

Questions:

Where does focus go?

Where do relationships form between the speaker, the text, the participant?

Who is caring for who?

Choreographic Observership with Casson & Friends Day One : Week Three

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Theatre Deli. South London.

Casson & Friends emphasise a collaborative process in which they remove the sense of seriousness from contemporary dance practices. They focus on dance as an forming force for inclusivity, presenting work that is playful, universally engaging, but also technically challenging for the performers. Being very technically focused in my own work, observing their rehearsals for ‘Choreocracy’ showed me the playful side of dance-theatre and contemporary, in which a work can exist not in or out of its tradition, but rather in tandem with it.

Moreover, Choreocracy is a performance driven by its technological interactivity. Tim explained the parameters within which the piece exists but it was clear that risk underpins the action. The uncertainty of the performance’s outcome gives it life, and I arm really excited to meet Seb (?) and discover how his coding practice has influenced his performance work as well as his piece.

This day was really inspiring, not only to observe the company’s rehearsal process but also in talking to Tim and discussing his journey to the here and now, and how it was his passion that dance can be for everyone that fuelled his desire to create a different kind of company, that invites everyone in.

It has made me consider how I present my work, and who I invite into my work. I would like to think I make work that is accessible for everyone, but in terms of my own practice I haven’t considered not who I invite but how I make a welcoming space.