With thanks to Simon Ellis for photographing us :D (and a little editing on my behalf!)
I inverted some of the photographs and I love how these turned out!! Imagine what could be created if this could be achieved in real life!
Saturday, 19 December 2009
Photographs
With thanks to Simon Ellis for photographing us :D (and a little editing on my behalf!)I inverted some of the photographs and I love how these turned out!! Imagine what could be created if this could be achieved in real life!
Thursday, 17 December 2009
Rehearsals
Rehearsals.
Finding time. Finding space. Finding ideas.
After having come up with an original phrase, we began manipulating it and developing it into new phrases.
Finding time. Finding space. Finding ideas.
After having come up with an original phrase, we began manipulating it and developing it into new phrases.
Performance.
Tonight was the final performance of this last piece. We invited in an outside audience to watch so it was not just the class. Being an exam, it was filmed and the added bonus of an 'unsafe' audience, who would really watch closely and judge what they saw without any forward idea or justification, my nerves were very erratic and the other students could really tell in the run up.
I'm thankful for the lighting we chose as it did not light the faces of the audience so I could not pinpoint anyone I knew. This meant that I could really concentrate on the movement I had to show.
Performing is one of my favourite things to do. It is not something I do often anymore, but I love it. I guess its because I like the (hopefully positive) attention that comes with being 'on stage'.
I felt it went well, but I feel our piece really demonstrated our experiences of the course. I adore the fact that all six pieces are different and it was amazing to see the final products since I hadn't seen any of the works in progress. Every piece had one movement that reminded me of something in our own piece.
Well done everyone,
Thanks Simon, Mike and Rhianne.
I'm thankful for the lighting we chose as it did not light the faces of the audience so I could not pinpoint anyone I knew. This meant that I could really concentrate on the movement I had to show.
Performing is one of my favourite things to do. It is not something I do often anymore, but I love it. I guess its because I like the (hopefully positive) attention that comes with being 'on stage'.
I felt it went well, but I feel our piece really demonstrated our experiences of the course. I adore the fact that all six pieces are different and it was amazing to see the final products since I hadn't seen any of the works in progress. Every piece had one movement that reminded me of something in our own piece.
Well done everyone,
Thanks Simon, Mike and Rhianne.
Wednesday, 16 December 2009
CSI: Roehampton
White body outines = crimescene. That is the reference anyone reading this blog would most likely conclude.
We chose this as a starting point and began playing around with movements that would site us against these bodies with only parts of our body being free and able to move.
We recorded the material and this is what we came up with.
After deciding we didn't want to have the connotation of a crimescene, we began looking into other ways of using 'semi-paralysed' bodies in other spaces.
We chose this as a starting point and began playing around with movements that would site us against these bodies with only parts of our body being free and able to move.
We recorded the material and this is what we came up with.
After deciding we didn't want to have the connotation of a crimescene, we began looking into other ways of using 'semi-paralysed' bodies in other spaces.
Assessent Study 2 Feedback
Tutor
16
Fine attention to detail, and I enjoyed the sense of you 'zooming' in and out on the body with very small to quite large physical actions. I thought the use of sound in the darkness was well considered, and your use of light was excellent (great blackout at end - in execution and effect). This created a strong atmosphere – of disquiet? – that was exaggerated by the sense of distance between the performer and the audience.
I felt, however, that your movement could have had more attention to detail - making it more complex, and difficult to perform? There were some quite 'recognisable' Limone-type actions, and I am definitely curious about the split leap as well!
PS I watched two versions of the work - one without an audience and one with. It seemed like you used the light in a more asynchronous way in the first version ... and it made for some quite distinct (and unusual) uses of the space (in relation to the light). This was less evident in the 'corrected' version.
Peer
17
A carefully considered use of sound and light, they linked perfectly. when the light was absent a use of fast and loud breathing could be heard and visa versa for when rigmor was visible. the use of quirky and shaking limb was a great exploration of movement that resonated through out the piece and the rest of the body. the peice was full of contrasts which gave the audience a sense of a journey that never got boring and kept me fixated from beginning to end. it was strong performance that showed a clear and direct approach from both performer and lighter.
However, the split leap into the light was disappionting because to me, personally it showed little correlation to the idiosyncratic and seemed a little too contrived. It was not as interesting as the small quirks and stillness that could be seen through out. Maybe some of the movement that we could hear but not see could have been interesting here instead ?
Self
17
We really feel like we experimented with the movement a lot and developed it well into something neither of us would have come up with if we hadn't had this task. However, we could have thought about audience experience a little bit more. We were very focused on movement and really considered lighting and how it would all work together in the space, but forgot about how the audience would perceive this.
16
Fine attention to detail, and I enjoyed the sense of you 'zooming' in and out on the body with very small to quite large physical actions. I thought the use of sound in the darkness was well considered, and your use of light was excellent (great blackout at end - in execution and effect). This created a strong atmosphere – of disquiet? – that was exaggerated by the sense of distance between the performer and the audience.
I felt, however, that your movement could have had more attention to detail - making it more complex, and difficult to perform? There were some quite 'recognisable' Limone-type actions, and I am definitely curious about the split leap as well!
PS I watched two versions of the work - one without an audience and one with. It seemed like you used the light in a more asynchronous way in the first version ... and it made for some quite distinct (and unusual) uses of the space (in relation to the light). This was less evident in the 'corrected' version.
Peer
17
A carefully considered use of sound and light, they linked perfectly. when the light was absent a use of fast and loud breathing could be heard and visa versa for when rigmor was visible. the use of quirky and shaking limb was a great exploration of movement that resonated through out the piece and the rest of the body. the peice was full of contrasts which gave the audience a sense of a journey that never got boring and kept me fixated from beginning to end. it was strong performance that showed a clear and direct approach from both performer and lighter.
However, the split leap into the light was disappionting because to me, personally it showed little correlation to the idiosyncratic and seemed a little too contrived. It was not as interesting as the small quirks and stillness that could be seen through out. Maybe some of the movement that we could hear but not see could have been interesting here instead ?
Self
17
We really feel like we experimented with the movement a lot and developed it well into something neither of us would have come up with if we hadn't had this task. However, we could have thought about audience experience a little bit more. We were very focused on movement and really considered lighting and how it would all work together in the space, but forgot about how the audience would perceive this.
Watching the tech run
Watching the tech run has really opened my eyes. Because I have been so engrossed and consumed by our final task, I had no expectations of the other groups' pieces. I loved watching them and being able to see what they had created too.
I was asked to watch one of the pieces with full concentration to offer my opinions about the lighting and how it affected the piece. This made me fully aware of what I was to see tomorrow. It just so happens that I will be peer assessing this work and I can't wait to get their criterion so I am able to receive the work in a new dimension, and hopefully it will bring about an alternative perspective to my thoughts.
Looking forward to the assessment :)
Good luck everyone, break a leg!!
I was asked to watch one of the pieces with full concentration to offer my opinions about the lighting and how it affected the piece. This made me fully aware of what I was to see tomorrow. It just so happens that I will be peer assessing this work and I can't wait to get their criterion so I am able to receive the work in a new dimension, and hopefully it will bring about an alternative perspective to my thoughts.
Looking forward to the assessment :)
Good luck everyone, break a leg!!
Week 5 - Assessment Study 2 (Complex Movement)
Task: In assigned groups of two or three, develop a 2-4 minute solo study that prioritises the development of complex and idiosuncratic movement. The work will have a single (fixed) light with no more than three cues (including beginning and ending). You are required to operate the lights.
The emphasis is on an imaginate engagement with the possibilities and (once again) complexity of physical action/dace and time, as well as a creative and well-considered approach to 'choreographing' the audience's experience of the work.
Working with Rigmor had been a little bit of a challenge. It was not difficult choreographing together, but it became troublesome finding space when we were both available. With the time constraints of a week, it felt easy to get down to business and just bash out something to begin with.
The best way I find to create movement, other than having a relatively specific topic or subject, is to use a dance-by-chance method. Rigmor and I both chose different parts of the body and dynamics. These were then paired to create a movement using those ideas, such as 'left foot' and 'slow'.
We each found individual movements and then strung them together, creating the phrase. It was difficult having only a couple of hours and not being able to decide on how the lighting would be. It was interesting having to imagine the lighting and how an audience would view the piece, especially since we could not choreograph in the space it was to be performed in.
The emphasis is on an imaginate engagement with the possibilities and (once again) complexity of physical action/dace and time, as well as a creative and well-considered approach to 'choreographing' the audience's experience of the work.
Working with Rigmor had been a little bit of a challenge. It was not difficult choreographing together, but it became troublesome finding space when we were both available. With the time constraints of a week, it felt easy to get down to business and just bash out something to begin with.
The best way I find to create movement, other than having a relatively specific topic or subject, is to use a dance-by-chance method. Rigmor and I both chose different parts of the body and dynamics. These were then paired to create a movement using those ideas, such as 'left foot' and 'slow'.
We each found individual movements and then strung them together, creating the phrase. It was difficult having only a couple of hours and not being able to decide on how the lighting would be. It was interesting having to imagine the lighting and how an audience would view the piece, especially since we could not choreograph in the space it was to be performed in.
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