Okay...just back from meeting with Joe...the tracks that he is working on sound great and once again he has got it spot on it creating the right atmosphere and soundscape....so difficult to describe them in words though.....I have digital copies...we discussed what is still left to do and he suggested using samples of his peacock singing and I thought that it would be a great idea and really play into what we are looking to set up...we also talked about sampling the sound of crumbled concrete behind some of the tracks that he has already started on and I think that this will give it just the right kind of dirty industrial sound to underpin the more ethereal haunting sounds...like an earthy rumble resonating underneath the more air like sounds of the 'singing'...he is still having trouble finding a female voice that would fit...so we will replace that idea with the peacock's singing.....
we just confirmed what is needed overall, what is still left to do and when i need it by.....good and very productive meeting....i really feel how the piece coming along now and how we are going to set up the sound 'layer' drawing in all the themes and feelings to create an appropriate soundscape....
Still nothing more from potentials but I am excited about my costume meeting tomorrow.....
Saturday, 5 May 2007
Creator- props props
More props today...
No more e-mails from potential performers as of yet and it is still raining.
I widened my net today and put a casting call out to Solent university theatre and drama depts.......so just need to wait and see what happens. I have been posting a notice on the portal daily and I have sent another e-mail out to the undergraduate body of drama and perf arts students too.
I have picked some green paint for my blocks as I think that this will be a nice contrast between the reds of the costumes and also brings in an element of fresh, new life to the visual aesthetic.
I have a sound meeting later with Joe Harris at his studio barn on the farm in Woolley...haven't seen him for a while and it will be really good to do a face to face and catch up...he also has some prelim tracks for me to have a gander at.....I am going to go away now and have a think about the set and staging in terms of the moon and house...will get back to you on how that pans out.
No more e-mails from potential performers as of yet and it is still raining.
I widened my net today and put a casting call out to Solent university theatre and drama depts.......so just need to wait and see what happens. I have been posting a notice on the portal daily and I have sent another e-mail out to the undergraduate body of drama and perf arts students too.
I have picked some green paint for my blocks as I think that this will be a nice contrast between the reds of the costumes and also brings in an element of fresh, new life to the visual aesthetic.
I have a sound meeting later with Joe Harris at his studio barn on the farm in Woolley...haven't seen him for a while and it will be really good to do a face to face and catch up...he also has some prelim tracks for me to have a gander at.....I am going to go away now and have a think about the set and staging in terms of the moon and house...will get back to you on how that pans out.
Reflective Practitioner- Practical devices and strategies
Etchells talks about how he approaches the making process: ‘the process they used was chaotic, exploratory, blundering. A question of going into the rehearsal room and waiting for something to happen. Waiting for something that amused, scared, hurt, provoked or reduced one to hilarity’. This sounds delightful and exciting but the reality is that I do not have the time to enjoy such a process, I still do not even know who I will be working with. If I want things to run to the timetable that I have, I am going to have to use prompts and devices for generating play opportunities; I am going to have to be more structured in my approach. I am hoping that once I have got things going that the performers will pick things up and really run with them, pushing them to the boundaries, taking them to their breaking point.
Play seems to be a recurring device of devising and is also something which fascinates me as a practitioner, I love the idea of games, party games, children’s games; ‘devising involves a lot of discovery. Its important to play first, to improvise, then set it structurally’.
Bert O States and Michael Kirby offer some really interesting perspectives on how we can theorise the concept of non acting, as does John Freeman; I will have to dig out the books and articles I have in this area for a more in depth look.
Rachel Rosenthal is also a really interesting read on the subject of performing and devising; she suggests, ‘start from scratch [..]. Take risks, psychologically and physically. Generate your own stuff. Think of everything you do as if it is the only chance in life that you have to do it: now, here, in a particular way. You will never have the chance again’. I feel that this quote is so pertinent to the kind of work which is aiming to place the audience in the role of the creatorly participant because it is all about the moment, that particular performance, with those particular people in that same space, working together, playing together, creating together. She really manages to understand the fleeting and ephemeral nature of this type of performance.
Wooster Group-Goat Island-Stan’s Café-Third Angel-Reckless Sleepers-Imitating the Dog….will go onto their websites to see if they have any insight into the devising process that they use to make their work.
Bed time now I think…yes.
Play seems to be a recurring device of devising and is also something which fascinates me as a practitioner, I love the idea of games, party games, children’s games; ‘devising involves a lot of discovery. Its important to play first, to improvise, then set it structurally’.
Bert O States and Michael Kirby offer some really interesting perspectives on how we can theorise the concept of non acting, as does John Freeman; I will have to dig out the books and articles I have in this area for a more in depth look.
Rachel Rosenthal is also a really interesting read on the subject of performing and devising; she suggests, ‘start from scratch [..]. Take risks, psychologically and physically. Generate your own stuff. Think of everything you do as if it is the only chance in life that you have to do it: now, here, in a particular way. You will never have the chance again’. I feel that this quote is so pertinent to the kind of work which is aiming to place the audience in the role of the creatorly participant because it is all about the moment, that particular performance, with those particular people in that same space, working together, playing together, creating together. She really manages to understand the fleeting and ephemeral nature of this type of performance.
Wooster Group-Goat Island-Stan’s Café-Third Angel-Reckless Sleepers-Imitating the Dog….will go onto their websites to see if they have any insight into the devising process that they use to make their work.
Bed time now I think…yes.
Friday, 4 May 2007
Reflective Practitioner- the performing body
In light of today’s disappointment I had a think and read so here are some thoughts about the performing body-
Devising, well my manifestation of devising needs more than acting, it needs performers. I will not be asking my performers to embody or represent a character, instead I need them to serve more like ciphers, and they will be vessels for the texts that we use. I also need them to negotiate their own ‘self’ in performance, to find a performative presence for this work in relation to the discourses that we will be exploring. They will need to be brave and be willing to give of them selves, surrendering to the tasks and games that we will be negotiating during the process and in the resulting live performances. I am going to need them to identify and develop their own localised and specific performance persona/s. This I hope will not be a fixed persona but one in flux that is shifting and dynamic, responding in the moment to the audience.
This is a big ask, I know that but without it, this project will fail. It requires certain bravery and a willingness to risk and invest everything, only everything will do. I am hoping that the performers who come forward will bring skills with them and have a good background in performance rather than just acting, in fact I am not sure how useful a background in acting and drama will be to this project. Performers with a history of dance and physical theatre would be ideal; performers with experience or knowledge of contemporary devising practices. Maybe even non actors and non performers would be more suited to this project, as then they will come with few expectations and fixed baggage.
I just hope that they will be brave, generous, ferocious and tenacious, willing to take risks and really push themselves. I need people who are body aware, have few inhibitions or at least be aware of them and willing to challenge themselves. If I want the audience to invest and to risk, then we will all have to do so without exception.
Tim Etchells from Forced entertainment, really clearly expresses the situation when he wrote: ‘Investment is what happens when the performers before us seem bound up with what they are doing-it seems to matter to them, it appears to hurt them or threatens to pleasure them, it seems to touch them, in some quiet and terrible way. Investment is the bottom line-without it nothing matters, and we don’t see half enough of it’.
The question that I must ask myself is, how do I facilitate this? How do I make it matter to them, how do I let them get bound up, how do I allow them the space to feel touched, to feel invested, to feel at risk? I am still so worried that time is not on my side, Forced Ents have been together 20 years, lived together, really come through it together and it shows, you can tell. How do I build a group dynamic, find the space and time to play that develops connections and links between performers? It truly is my biggest concern at the moment. Etchells talks about how important investment is and how it affects their performance presence: ‘Investment is the line of connection between performer and their text or task. When it works it is private, and often on the edge of words’. For me this seems fragile, a delicate and almost sacred process. I am going to need performers with imagination, commitment and the willingness to give themselves in and over, the ability to play. This is also what I hope for from the audience, this is the opportunity that I want to give to them. The performers need to achieve it if there is any hope of the audience coming onboard too. I am responsible for setting up the opportunity for my performers to achieve this place. I need to think carefully about devices and strategies that I can use to make this happen.
Devising, well my manifestation of devising needs more than acting, it needs performers. I will not be asking my performers to embody or represent a character, instead I need them to serve more like ciphers, and they will be vessels for the texts that we use. I also need them to negotiate their own ‘self’ in performance, to find a performative presence for this work in relation to the discourses that we will be exploring. They will need to be brave and be willing to give of them selves, surrendering to the tasks and games that we will be negotiating during the process and in the resulting live performances. I am going to need them to identify and develop their own localised and specific performance persona/s. This I hope will not be a fixed persona but one in flux that is shifting and dynamic, responding in the moment to the audience.
This is a big ask, I know that but without it, this project will fail. It requires certain bravery and a willingness to risk and invest everything, only everything will do. I am hoping that the performers who come forward will bring skills with them and have a good background in performance rather than just acting, in fact I am not sure how useful a background in acting and drama will be to this project. Performers with a history of dance and physical theatre would be ideal; performers with experience or knowledge of contemporary devising practices. Maybe even non actors and non performers would be more suited to this project, as then they will come with few expectations and fixed baggage.
I just hope that they will be brave, generous, ferocious and tenacious, willing to take risks and really push themselves. I need people who are body aware, have few inhibitions or at least be aware of them and willing to challenge themselves. If I want the audience to invest and to risk, then we will all have to do so without exception.
Tim Etchells from Forced entertainment, really clearly expresses the situation when he wrote: ‘Investment is what happens when the performers before us seem bound up with what they are doing-it seems to matter to them, it appears to hurt them or threatens to pleasure them, it seems to touch them, in some quiet and terrible way. Investment is the bottom line-without it nothing matters, and we don’t see half enough of it’.
The question that I must ask myself is, how do I facilitate this? How do I make it matter to them, how do I let them get bound up, how do I allow them the space to feel touched, to feel invested, to feel at risk? I am still so worried that time is not on my side, Forced Ents have been together 20 years, lived together, really come through it together and it shows, you can tell. How do I build a group dynamic, find the space and time to play that develops connections and links between performers? It truly is my biggest concern at the moment. Etchells talks about how important investment is and how it affects their performance presence: ‘Investment is the line of connection between performer and their text or task. When it works it is private, and often on the edge of words’. For me this seems fragile, a delicate and almost sacred process. I am going to need performers with imagination, commitment and the willingness to give themselves in and over, the ability to play. This is also what I hope for from the audience, this is the opportunity that I want to give to them. The performers need to achieve it if there is any hope of the audience coming onboard too. I am responsible for setting up the opportunity for my performers to achieve this place. I need to think carefully about devices and strategies that I can use to make this happen.
creator- more thoughts and a disappointment
this is deeply frustrating...i just typed out a whole large entry and then when I clicked post it got lost...as if I am not peeved enough today already!
Got an e-mail from THE MAN...he is not interested in taking part in the show...which is fine and is his choice but now I am back to having no male interest. His reason is that he is not happy to strip down to his shreddies so does not want to be considered for casting. this makes me sad for him and sad for me too. If he wants to go forward with a career in performance he will have to think about how he is going to overcome his insecurities...a performer needs to be comfortable with their body and it is their tool, their instrument...having issues about your body as a performer will be extremely limiting within a professional context...anyhoo its his decision...I just have to live with it. So I am back to having no man.
I am going to have to have a think about what i am going to do if I can't get any male performers...I will need to re-think the show and the texts in the event of this and it is looking more and more likely as the days pass. I feel like time is slipping by me and I need to grab and hold and get it to stop...just until i can get some performers...worrying now.
Made props today..although the rain did cause problems....more rummaging through the garage and I found my stash of shiny red shoes in various sizes....my costume designer Lorraine (my mum) has also collected a few more pairs from charity shops too....quite a collection...but I can't find my red ballet shoes..so I will have to keep looking for them.
Got an e-mail from THE MAN...he is not interested in taking part in the show...which is fine and is his choice but now I am back to having no male interest. His reason is that he is not happy to strip down to his shreddies so does not want to be considered for casting. this makes me sad for him and sad for me too. If he wants to go forward with a career in performance he will have to think about how he is going to overcome his insecurities...a performer needs to be comfortable with their body and it is their tool, their instrument...having issues about your body as a performer will be extremely limiting within a professional context...anyhoo its his decision...I just have to live with it. So I am back to having no man.
I am going to have to have a think about what i am going to do if I can't get any male performers...I will need to re-think the show and the texts in the event of this and it is looking more and more likely as the days pass. I feel like time is slipping by me and I need to grab and hold and get it to stop...just until i can get some performers...worrying now.
Made props today..although the rain did cause problems....more rummaging through the garage and I found my stash of shiny red shoes in various sizes....my costume designer Lorraine (my mum) has also collected a few more pairs from charity shops too....quite a collection...but I can't find my red ballet shoes..so I will have to keep looking for them.
Thursday, 3 May 2007
Creator-In the cave of delights
Nigel is a wiz with his hands and got started today on cutting out the blocks....I want them all the same size but different heights stepping taller with each one. I am no good at this sort of thing...so i have just been making my hands available as needed and rummaging through boxes of stuff. I found my stash of shiny red shoes in various sizes and my fire retardant spray...so all in all a good hall today.
I HAVE A MAN...maybe.....An undergrad drama student got in touch today (Adam Graham) he is interested in the project...so i have sent him an outline of the project and will keep my fingers and toes crossed that he will be up for it.
Found my little house and after running my hands and grey matter over it am not sure how it can be used. Would look great if I could create some shadows with the moon and house so that it creates like a suburban backdrop in shadows...this would place all of the action within a domestic setting which I feel would really work well with the themes of the piece but also help to keep a level of 'it could be anywhere..your house..my house..her house'. I will have to have a really good think about it.
I HAVE A MAN...maybe.....An undergrad drama student got in touch today (Adam Graham) he is interested in the project...so i have sent him an outline of the project and will keep my fingers and toes crossed that he will be up for it.
Found my little house and after running my hands and grey matter over it am not sure how it can be used. Would look great if I could create some shadows with the moon and house so that it creates like a suburban backdrop in shadows...this would place all of the action within a domestic setting which I feel would really work well with the themes of the piece but also help to keep a level of 'it could be anywhere..your house..my house..her house'. I will have to have a really good think about it.
Wednesday, 2 May 2007
Maker: Yeah! First contact
I am so relieved...at last I have had the first sign of life from the potential performing community of Winchester! I was starting to worry that I was not going to get any interest at all. I hope that this is the start of it all...there is not much I can do without any performers.
Her name is Katheryn Brown and she is an English undergrad, she has little experience of performing at this level or type of work but often that can actually be a positive and exciting thing. I have replied to her interest and sent her an outline of the show...now just got to wait and see if she is still interested once she has seen what it is all about.
That makes 3 names now...but they are all women...need a man.
A really big moon....I thought that maybe we could have a huge silver moon hanging in the space above the tallest block...could have images or words projected on it...would look really nice and set up the themes in a physical and tangible way...will depend on getting it through the H&S.
I am off to my folks now...to use their garage as a workshop for making props and to see what I can scavenge from previous works....their garage is like an emporium of strange and exciting objects...mostly stored in there by me....and my little suburban house...would be good to try and use that...slip in some domesticity.
Her name is Katheryn Brown and she is an English undergrad, she has little experience of performing at this level or type of work but often that can actually be a positive and exciting thing. I have replied to her interest and sent her an outline of the show...now just got to wait and see if she is still interested once she has seen what it is all about.
That makes 3 names now...but they are all women...need a man.
A really big moon....I thought that maybe we could have a huge silver moon hanging in the space above the tallest block...could have images or words projected on it...would look really nice and set up the themes in a physical and tangible way...will depend on getting it through the H&S.
I am off to my folks now...to use their garage as a workshop for making props and to see what I can scavenge from previous works....their garage is like an emporium of strange and exciting objects...mostly stored in there by me....and my little suburban house...would be good to try and use that...slip in some domesticity.
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