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

08May2018 104233 0001 May

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.

 

ZUUK Session: Week Two

West Ham. Long journey. Very tired. Audrey came to my house that morning for breakfast. We talked about all sorts on the way. She found the crystal she had lost in her fleece.

We arrived. Went to the park. Played games and then had to write a story in five minutes. Groups of three. Participant. Facilitator. Storyteller. I was blindfolded and taken to Portugal on holiday with Valentina. Sand beneath my feet. I was itching to take my shoes off.

The story from the caves in Iceland. Samantha sat on a stone and was taken into a myth that reminds me of home. It was quite special.

Back inside for groups and game devising. More tired. Less motivated. Games as a way of engagement with the audience.

Back to school. First coffee in a long time. Overwhelmed.

 

Regent’s Park: Week Two

Thoughts from 1 5 2018

Walking experience: route 11

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To walk in silence at first seemed so difficult, more because I was on a high and feeling talkative because it was my birthday, but as we began it became an almost meditative experience. There was a sense of comfort found in the presence of one another, but also a playfulness in the way we had to simply follow one another, to seek out a path without really communicating. In our instructions the word ‘impulse’ was used, and dappled in sunlight and warmth there seemed to be no other way to describe how we moved, impulsively, without thought or questioning. It’s something we do not do that often; one can be mindful on a designated route, but to be impulsive on one is rare, as we always feel the constraints of time.

Silence is mindful. I felt so close to myself and inner peace as we walked through the roots of the city and the trees. At the same time I felt attuned to the presence of Victoria and Reka, which grew when we took photographs of one another, and when I thought about how thirsty I was and turned to Victoria to only find she was handing me a carton of apple juice.

I felt aware of how even when impulsive we kept to the convention of paths, and what this means. To ‘stray’ is reckless, kept only for occasions outside of a familiar border perhaps. I also felt observant, watching how a Mum stared disapprovingly at Reka as she used a slide in the Gloucester Gate playground. I felt angered by this, not by the Mum but the fact she couldn’t see that there is childishness in adulthood too. Perhaps it was because it was my birthday, but I felt myself promising to never lose my sense of play. I felt passionate to remind others of this too.

Notes.

  • What does it mean to stray?
  • Why do we walk paths previously trodden? Tradition? Sentimentality? How they weave into a landscape.

Voice Work (Afternoon)

Warm up; focus on low resonance in an open space to ensure the audience hears you.

Tell a story within the space:

  1. What do the audience do?
  2. What do you do with your voice?
  3. What are the audience going to see?

Indoor Space for Finale (Duke’s Common Room, Regent’s University)

  • Genre: gig theatre (‘Rashdash’, Middle Child, Kate Tempest)
  • Bring Audience through backstage ?
  • Multi sensory
  • Period dance/choreo perhaps, mixed with modern music; blur the chronology/time period. Dreamlike.
  • Silent Disco
  • Haze!

Dreams In The Day

The below was sparked from something Orinta said during our intimacy workshop. Though I was frustrated by the way we ran for on a tangent I was so awakened by the share interest in dreams. Orinta referred to this idea of ‘dreaming in the day’, not ‘daydreaming’. These to me are distinctly different, the latter existing as the practice of letting the mind wander, while the former is to me the sense of not having woken up from slumber. I wrote a short piece below on this former, an experience I have when I do not sleep regularly, or dream persistently.

I once dreamt my journey to school. It was saturated, all the colours too bright and the contrast too low, a bizarre turquoise haze over everything. It was patchy – in the same way dreams always are. Jumping from one place to the next; I don’t remember leaving my house but I remember the face of the man who stopped for me when I crossed the road; I don’t recall who else I passed on the way but I remember the feeling of my shoulder being bumped by someone else’s. I remember tapping in but not how busy the tube was. I can’t explain it, the otherness of it. The sense of familiarity, of knowing where you are but it not looking how to recall it looks. There’s a euphoria about it, of drifting through an ocean of my own mind’s making, unable to anchor myself to anything physical, tangible. None of the people I passed did I know, and at the same time I was aware I had seen then before, at another time. Their faces were sampled from some ravine of information in my unconscious. I find it funny, how without realising I have remembered every face of every person I have ever encountered. Like secrets kept close, not really bearing any weight but nonetheless there, awaiting their calling.

When I woke up it was 11:30. I had been an school for over an hour, but none of the lecture I was in had passed further than the outer shell of my body. I had been so certain it was a dream, that I would wake up in bed and relive the path my mind had already taken. And it had, been a dream that is. Only I’d been awake the entire time.

Intimacy Workshop With Ita

Notes.

  • ‘Just’ – thoughtless word, idleness; ‘just go and do’. No consideration.
  • My initial interest in the immersive:
    – Themes
    – Subtext brought to the surface
    – Sporadic nature of the chronology; how this could be toyed with
    – Connection to nature
  • What I want to get out of the intimacy workshop:
    – Discover a safe space in which one can be vulnerable
    – Balance between personal insecurities and professional interactions with intimacy
    – Find some kind of enjoyment with it

As It Appears In Dreams

  • Alina: fantasy
  • Diogo: hidden desires – explore our own. Personal from the characters and ourselves
  • Movement: physicalise the social oppression of behaviour – true and false self (1960s – Winnicott).
    – How the social constraints hold Konstantin back in all aspects of his life.
  • Orinta: dreams in the day (LOVE)
  • Barrier between actors and audience.
  • Faces; in dreams no one you meet is someone you haven’t met in real life. We do not build faces, rather somewhere in our unconscious is a bank of all the faces of all the people we have passed.
  • Wums: create an experience for the audience
  • Give control to the audience; alike to lucid dreaming.
  • Animalism of the characters
  • Audience fantasies
    – How could you tease that our, communicate it to one another and then present it?
  • Invitation; how do you bring the audience to the performance
  • Tung: (her brain is wonderful
    – when indoors, you are adding things in, but in Regent’s Park there is so much already there
  • SPATIALITY
  • Identity – characters converse with themselves external rom sleep.
  • ‘Doomed’ desires

Thoughts from Movement

I was disappointed we didn’t get to practically delve into the intimacy work, however after being so static all day it was liberating to finally move, even though it was for no more than an hour. I felt at peace when we finished, as well as realigned with each part of my body, reminded of how they move in isolation but also how they move together. There are very few experiences I have had in my life that gives me the same kind of awakeness.

 

Statement Of Goals

1) Begin to evolve as an artist. Part of my feedback from last term was to remove the definition of ‘student-based work’ from my personal vocabulary. I seem to have, without realizing, made a distinction in my own work between what was ‘professional art’, and what was ‘student art’. This has really stuck with me, and I feel it has raised many questions about myself and how I present myself and my work in a space, but also motivated me to actively seek out what it means to me to be a working artist in my current context. Though this seems to be a lot about definitions it’s more me making a conscious effort to consider my practice and what I currently want to work on, rather than thinking too far into the future. I feel what Central gives me is not the opportunity to be a ‘student’, but a safe environment to fully explore the breadth of my abilities.

2) Immerse myself in Immersiveness. Something of a paradox, perhaps, but immersive theatre, though incredibly thought-provoking, is not where my interests lie. This doesn’t mean I am shut off from it or from the project, and as an artist I have always been one to throw my all into something until the end. I feel the same for this term and this specific project, but also from a theoretical perspective too. I want to engage with the terminology, the discussions of space and what space means, the dichotomy of audience autonomy and audience interaction. There’s so much to unpack this term and I want to strive to push myself to discover as much of it as possible.

3) Learn to juggle. This is by far my busiest state of existence. I am a person prone to stress and anxiety, and this term will be a definite test of my current ability to handle high workload, but also a new learning curve. I seek to discover how I best organize, and how I can activate my being to be present while focused on so many things. Equally, I want to give myself the space to breathe, and learn what it means to say no when things get too much.

4) Dance. I’ve spent so much of this first year focusing on goals and aims, and instead, as I discover my artistry and my voice in the sea of singing that is art, I want to continue to develop the passions that give me the most. Of everything. Dance is at the core of this, and I want to work on both how I approach dance, how I approach choreography, but also how my body moves within space, and the joy of that.