Now that I am closer to getting into the rehearsal room I need to identify and develop devising strategies that will facilitate the generation of material to build the performance out of and techniques for creating a dynamic creative flow between performers and audience.
Clive Barker was a practitioner who pioneered the use of games in theatre training for actors back in the 1970’s. I think that many of his techniques are still really useful devices for generating material within the context of devising rather than training. I am going to use some of his games and activities to generate creative material.
Barker suggests that games are useful in theatre training because they’ direct the actor to focus his attention outside of himself, and so extrovert the flow of energy instead of introverting it, and by doing so, break down self-consciousness and free the actors body/think mechanisms’. As far as applying this principle to performing and the devising process, the notion of freeing up the mind/body is central. By letting go of the self-consciousness and freeing up the mind/body to possibilities, you can start to discover and develop material connections and relationships. It is important that during the actual performance, the performers have techniques that they can employ which will make them open and in a position to engage with the audience. Some of Barker’s games prepare for this and can form structures that can enable this type of communication flow between performers and audience.
Barker talks about something that I have discussed in previous entries; he writes about how the process of creation can be successful:
‘The most successful sessions are when a group takes the session away from you, and spontaneously begins to throw in their own games; or, more often, a game grows on a group, and they will go on playing it and getting value from it long after you have moved on to some other area.’
I am going to encourage my performers to feel free to take games to their limits to push and tease sessions in a way that engages and fascinates them. The process will be exploratory. I will offer starting points and springboards but I hope that as a group we can develop these into something more exciting than what they started out as.
Thursday, 17 May 2007
Wednesday, 16 May 2007
Makers thoughts- OMG!
Okay only 2 people came to the audition...Richard and Nikki....now I really am in trouble!
I went through the show and gave them both copies of all of the texts and the shows order...we did a few warm up exercises and some cold reading....auditioning is so pointless when I will be using whoever comes forward to take part at this juncture in time......I let Nikki go very quickly as she was in a rush but kept Richard and we worked through the texts....reading them...getting inside them and working on the tone, texture and rhythms....he did really well...I was actually taken aback by his commitment and concentration....he has a good voice and I really feel like I a going to be able to work with him...this is very exciting!
I still need another performer though...so I will have to figure that one out......I think and I will call Debbie and see if she is still interested...maybe she could not make the audition...or didn't get the e-mail...who knows but I am keeping my fingers crossed that she is still interested....right I now have a lot of work to do...need to start rehearsing and devising ASAP!
I went through the show and gave them both copies of all of the texts and the shows order...we did a few warm up exercises and some cold reading....auditioning is so pointless when I will be using whoever comes forward to take part at this juncture in time......I let Nikki go very quickly as she was in a rush but kept Richard and we worked through the texts....reading them...getting inside them and working on the tone, texture and rhythms....he did really well...I was actually taken aback by his commitment and concentration....he has a good voice and I really feel like I a going to be able to work with him...this is very exciting!
I still need another performer though...so I will have to figure that one out......I think and I will call Debbie and see if she is still interested...maybe she could not make the audition...or didn't get the e-mail...who knows but I am keeping my fingers crossed that she is still interested....right I now have a lot of work to do...need to start rehearsing and devising ASAP!
Tuesday, 15 May 2007
Creators diary- Somebody shoot me now!
I have had performance dates from Anita to choose from for The Tower Arts Centre but I am reluctant to move on that as of yet because of having no confirmed performers.
Rommel can't make those dates...so he will not be able to do it.
Richard (another PhD) offered to do it instead...I am not sure if he is serious or not...we were in the bar and he does like to mess with you a bit...not good at reading him so really not sure...I will wait and see...if he shows up to the audition, then I guess he is serious...if not then I will know that he was just messin with me...for now I will keep an open mind until the audition and I will see what happens then....Richard is not a performer and although that does have its advantages...I am concerned that he will struggle with such a short time scale...I am not going to pre-judge I will just have to wait and see what happens....3 girls might work better...might be more chemistry...you never know.
I have prepared a short workshop and I am really excited about tomorrow now...scared as well though.
Rommel can't make those dates...so he will not be able to do it.
Richard (another PhD) offered to do it instead...I am not sure if he is serious or not...we were in the bar and he does like to mess with you a bit...not good at reading him so really not sure...I will wait and see...if he shows up to the audition, then I guess he is serious...if not then I will know that he was just messin with me...for now I will keep an open mind until the audition and I will see what happens then....Richard is not a performer and although that does have its advantages...I am concerned that he will struggle with such a short time scale...I am not going to pre-judge I will just have to wait and see what happens....3 girls might work better...might be more chemistry...you never know.
I have prepared a short workshop and I am really excited about tomorrow now...scared as well though.
Reflective Practitioner-the audition plan
I just wanted to go through my proposed audition plan and reflect upon the reasons that underpin my decision to undertake those particular games and activities.
Physical Warm Up
This serves a dual purpose; as well as getting the performers bodies warmed up, it will give me the opportunity to asses their general level of fitness (the project is quite physically demanding) and body awareness. It will give me the chance to see their physicality and the performance presence that they generate. It will also allow me to asses their level of commitment and concentration. The ability to generate a presence by undertaking tasks rather than becoming a character in the traditional sense is a fundamental aspect of Siren Song and so the warm up allows me to see the performer’s level of concentration in doing tasks. Commitment is an obvious and vital requirement for this project.
Vocal Warm Up
In the same way that the physical warm up will afford me the chance to assess presence and physical character, the vocal warm up will enable me to gage their vocal production and vocal skills. In exercising their breathe production and control, I will be able to asses their vocal range in both tone and character at the same time as warming them up for the exercises to come. I will be looking for versatility in their range. The performers will be utilising their voice and body in the performance to create the work and I am not going to have time during the process to develop these skills with the performers, so I am looking for a certain level of vocal competence (to produce soundscapes ect).
Devising Warm Up
Follow the Leader- This may seem like childish simple game but it is extremely useful in affording the opportunity to assess a performer’s ability to be imaginative, to take risks and to be engaging, (the all important BIE). Although this is a child’s game, it gives the leader a chance to be creative and find innovative and imaginative ways of generating motion. I will be looking out for performers who do not make the obvious or easy choices but instead choose to really think outside of the box, push their physicality to its limits and take risks. The leader in this game has to think on their feet, show initiative, creativity and physical prowess. My hope is that it will spark an element of playful competition, each leader trying to ‘out do’ the previous leader-this would be a healthy and insightful response to the task set. This task requires risks to be taken by the performers; they have to step up and put themselves under scrutiny not only by me but through necessity, the other performers also. It asks the followers in the game to invest; they have to give themselves over voice and body to the whims of the leader. In this sense it also requires an engagement with each other and a level of trust between those taking part in the game-I am really interested to see how the performers auditioning respond to this particular task.
Follow the Leader, requires all those taking part to have a connection with the others who are also playing the game. Each player (except the leader) is reliant upon the person previous to them in the line, for the followers to accurately mimic the leader, they have to have a connection with the person in front of them, and they have to be aware of each other to be successful. I am looking for performers who have the ability to connect with others. In Siren Song, the work will depend very much on the people who make it and it is really important in this respect that I select the right people.
Etchell’s offers up some really insightful comments about this type of collaboration:
‘Is collaboration this: the 12 years’ endless proximity to other people, physical, vocal, all day and into the night, watching people fade in and out of coherence and concentration-an intimacy that approaches that of lovers who no longer bother to close the door whilst shitting?’ (Etchells: 54)
We do not have 12 years or even 12 weeks, which is such a huge concern for me but can we build or find the level of intimacy and collaboration that Siren Song needs within the timescale that we have? I don’t know but I really hope so. I hope that some of the exercises tomorrow will highlight any potential connections between performers. I have no delusions that we will achieve the level of intimacy that Etchell’s is discussing here but in the auditions I will be looking for sparks and connections to build on. Some of the undergrads will have worked together for the last 2/3 years and so may already have built up relationships that can be utilised. Matthew Goulish also talks about the process of devising in terms of its relationship with time and it does not afford me any comfort at all:
‘We had no idea where this would lead us, or when it would lead us there. We simply agreed to begin’ (Goulish: 9)
I am not going to have the luxury of time to develop and time to discover, so I am just hoping that tomorrow I discover some brave and ferocious performers.
Machine- (One person starts a series of two repetitive movements with accompanying sounds and then the other performers can jump in when they feel ready. Their movements must compliment and accompany the starting performers’ and so it goes on and builds until the whole group are working as a single intricate machine. This is a device to see how the performers use their imaginations and engage and collaborate with each other as an ensemble. This game is all about working as an ensemble and they will have to be completely aware of each other and work together to produce something bigger than themselves as individuals. They will have to become part of a whole. It will also show me which performer’s respond imaginatively and are able to express themselves through task driven activities. I will also be looking for investment. I want to see which performers take up the task and invest in it wholly and earnestly.
Trust- I will be asking the performers to work against their natural instincts to protect themselves and ask them to catch each other in pairs and ask the group to keep a single performer upright in a tight circle. This is all about taking risks and putting your trust in the other performers. This is an integral aspect to devising and making theatre in a collaborative environment.
Intro’s- I will ask the performers to introduce themselves in any mode or medium of expression that they feel best gets across to the group what they wish to share with the group about themselves. They will get 10 minutes to prepare their intro. In asking the performers to share something about themselves with the group, it will give me a sense of their imaginative character and the performance tools that they rely on. It will give them a chance to display their performance skills at the same time as presenting their performative self. It will give me the opportunity to assess the performance personae that they have to offer. This is a crucial for me, as they will be playing a performative version of themselves during the Siren Song experiments.
Auslander considers the importance of the performative personae as a postmodernist performance practice in the work of the Wooster Group and in this extract quotes Willem DaFoe, one of their key performers and founding members:
‘I’m this particular guy who has to go through these particular paces. It’s not so much that I’m putting forward my personality, but because of the various actions that I have to do, I’m presenting my personality in how I field those actions’ (Auslander 1997: 39)
I am concerned with seeing how the performers present themselves in this task.
Audition Tasks
Confessions- I will set up a circle with the performers and give them the task of making confessions about ‘Her’. One person will start by stepping into the circle and will have to keep going until someone else steps in and takes over by saying “stop”. This exercise is one that I hope will be key to generating material in the devising process. I want to do this, to see how the performers will field this type of material generating task. It will be useful in helping me to assess how the performers will invest in a task, generate imaginative material and negotiate themselves in the activity of the tasks. This type of task/activity/game will be the corner stone of our process and I want to see how far they will take it and run with it. It is really vital that the performers take up this particular activity and attack it with creativity and rigour.
Improv Situations- I will set up the circle and give them a stimulus-this could be a word, a sentence, a statement, a sound. Once they step into the middle of the circle, they are then in the performance space and can respond to the stimulus in anyway that they choose. They are free to step in or out of that space anytime they like once the improv has begun. I will let the improve runs until they collapse or run out of steam. This again, will be a device that we will use during the devising process to explore the themes of woman and trauma and will assess the same things as the Confessions exercise. The confessions circle is about how they handle themselves in a task but this exercise assesses how they marshal those things as an ensemble. It looks at the way in which they engage and collaborate with each other to devise and create.
Read through- I will be asking them to read through a small section of the Woman text in groups of three. The texts are one of the key starting points for the process and I want to see how the performers will approach them and respond to them. It is really important that the performers have a keen sense of the themes and can express them in exciting and insightful ways. The texts are a useful way into the themes and feel of the project.
Black liquid- this is a floor work, relaxation exercise. This is just a way of helping them to relax and clense their bodies of anything that we have done during the session. I hope that it will relax and reinvigorate the performers before we have our discussion about the project.
Discussion- I will go through all aspects of the project with all of the creative and housekeeping issues that need to be addressed. I will take any questions that the performers might have. I will give them a quick handout to look at during their break with all of the details on it.
Decision- I will make my casting decision, give feedback and give texts to all of the performers who I will be working with. I will also organise a provisional rehearsal schedule based on their availability.
Again, I really hope that lots of people show up for the audition tomorrow.
Physical Warm Up
This serves a dual purpose; as well as getting the performers bodies warmed up, it will give me the opportunity to asses their general level of fitness (the project is quite physically demanding) and body awareness. It will give me the chance to see their physicality and the performance presence that they generate. It will also allow me to asses their level of commitment and concentration. The ability to generate a presence by undertaking tasks rather than becoming a character in the traditional sense is a fundamental aspect of Siren Song and so the warm up allows me to see the performer’s level of concentration in doing tasks. Commitment is an obvious and vital requirement for this project.
Vocal Warm Up
In the same way that the physical warm up will afford me the chance to assess presence and physical character, the vocal warm up will enable me to gage their vocal production and vocal skills. In exercising their breathe production and control, I will be able to asses their vocal range in both tone and character at the same time as warming them up for the exercises to come. I will be looking for versatility in their range. The performers will be utilising their voice and body in the performance to create the work and I am not going to have time during the process to develop these skills with the performers, so I am looking for a certain level of vocal competence (to produce soundscapes ect).
Devising Warm Up
Follow the Leader- This may seem like childish simple game but it is extremely useful in affording the opportunity to assess a performer’s ability to be imaginative, to take risks and to be engaging, (the all important BIE). Although this is a child’s game, it gives the leader a chance to be creative and find innovative and imaginative ways of generating motion. I will be looking out for performers who do not make the obvious or easy choices but instead choose to really think outside of the box, push their physicality to its limits and take risks. The leader in this game has to think on their feet, show initiative, creativity and physical prowess. My hope is that it will spark an element of playful competition, each leader trying to ‘out do’ the previous leader-this would be a healthy and insightful response to the task set. This task requires risks to be taken by the performers; they have to step up and put themselves under scrutiny not only by me but through necessity, the other performers also. It asks the followers in the game to invest; they have to give themselves over voice and body to the whims of the leader. In this sense it also requires an engagement with each other and a level of trust between those taking part in the game-I am really interested to see how the performers auditioning respond to this particular task.
Follow the Leader, requires all those taking part to have a connection with the others who are also playing the game. Each player (except the leader) is reliant upon the person previous to them in the line, for the followers to accurately mimic the leader, they have to have a connection with the person in front of them, and they have to be aware of each other to be successful. I am looking for performers who have the ability to connect with others. In Siren Song, the work will depend very much on the people who make it and it is really important in this respect that I select the right people.
Etchell’s offers up some really insightful comments about this type of collaboration:
‘Is collaboration this: the 12 years’ endless proximity to other people, physical, vocal, all day and into the night, watching people fade in and out of coherence and concentration-an intimacy that approaches that of lovers who no longer bother to close the door whilst shitting?’ (Etchells: 54)
We do not have 12 years or even 12 weeks, which is such a huge concern for me but can we build or find the level of intimacy and collaboration that Siren Song needs within the timescale that we have? I don’t know but I really hope so. I hope that some of the exercises tomorrow will highlight any potential connections between performers. I have no delusions that we will achieve the level of intimacy that Etchell’s is discussing here but in the auditions I will be looking for sparks and connections to build on. Some of the undergrads will have worked together for the last 2/3 years and so may already have built up relationships that can be utilised. Matthew Goulish also talks about the process of devising in terms of its relationship with time and it does not afford me any comfort at all:
‘We had no idea where this would lead us, or when it would lead us there. We simply agreed to begin’ (Goulish: 9)
I am not going to have the luxury of time to develop and time to discover, so I am just hoping that tomorrow I discover some brave and ferocious performers.
Machine- (One person starts a series of two repetitive movements with accompanying sounds and then the other performers can jump in when they feel ready. Their movements must compliment and accompany the starting performers’ and so it goes on and builds until the whole group are working as a single intricate machine. This is a device to see how the performers use their imaginations and engage and collaborate with each other as an ensemble. This game is all about working as an ensemble and they will have to be completely aware of each other and work together to produce something bigger than themselves as individuals. They will have to become part of a whole. It will also show me which performer’s respond imaginatively and are able to express themselves through task driven activities. I will also be looking for investment. I want to see which performers take up the task and invest in it wholly and earnestly.
Trust- I will be asking the performers to work against their natural instincts to protect themselves and ask them to catch each other in pairs and ask the group to keep a single performer upright in a tight circle. This is all about taking risks and putting your trust in the other performers. This is an integral aspect to devising and making theatre in a collaborative environment.
Intro’s- I will ask the performers to introduce themselves in any mode or medium of expression that they feel best gets across to the group what they wish to share with the group about themselves. They will get 10 minutes to prepare their intro. In asking the performers to share something about themselves with the group, it will give me a sense of their imaginative character and the performance tools that they rely on. It will give them a chance to display their performance skills at the same time as presenting their performative self. It will give me the opportunity to assess the performance personae that they have to offer. This is a crucial for me, as they will be playing a performative version of themselves during the Siren Song experiments.
Auslander considers the importance of the performative personae as a postmodernist performance practice in the work of the Wooster Group and in this extract quotes Willem DaFoe, one of their key performers and founding members:
‘I’m this particular guy who has to go through these particular paces. It’s not so much that I’m putting forward my personality, but because of the various actions that I have to do, I’m presenting my personality in how I field those actions’ (Auslander 1997: 39)
I am concerned with seeing how the performers present themselves in this task.
Audition Tasks
Confessions- I will set up a circle with the performers and give them the task of making confessions about ‘Her’. One person will start by stepping into the circle and will have to keep going until someone else steps in and takes over by saying “stop”. This exercise is one that I hope will be key to generating material in the devising process. I want to do this, to see how the performers will field this type of material generating task. It will be useful in helping me to assess how the performers will invest in a task, generate imaginative material and negotiate themselves in the activity of the tasks. This type of task/activity/game will be the corner stone of our process and I want to see how far they will take it and run with it. It is really vital that the performers take up this particular activity and attack it with creativity and rigour.
Improv Situations- I will set up the circle and give them a stimulus-this could be a word, a sentence, a statement, a sound. Once they step into the middle of the circle, they are then in the performance space and can respond to the stimulus in anyway that they choose. They are free to step in or out of that space anytime they like once the improv has begun. I will let the improve runs until they collapse or run out of steam. This again, will be a device that we will use during the devising process to explore the themes of woman and trauma and will assess the same things as the Confessions exercise. The confessions circle is about how they handle themselves in a task but this exercise assesses how they marshal those things as an ensemble. It looks at the way in which they engage and collaborate with each other to devise and create.
Read through- I will be asking them to read through a small section of the Woman text in groups of three. The texts are one of the key starting points for the process and I want to see how the performers will approach them and respond to them. It is really important that the performers have a keen sense of the themes and can express them in exciting and insightful ways. The texts are a useful way into the themes and feel of the project.
Black liquid- this is a floor work, relaxation exercise. This is just a way of helping them to relax and clense their bodies of anything that we have done during the session. I hope that it will relax and reinvigorate the performers before we have our discussion about the project.
Discussion- I will go through all aspects of the project with all of the creative and housekeeping issues that need to be addressed. I will take any questions that the performers might have. I will give them a quick handout to look at during their break with all of the details on it.
Decision- I will make my casting decision, give feedback and give texts to all of the performers who I will be working with. I will also organise a provisional rehearsal schedule based on their availability.
Again, I really hope that lots of people show up for the audition tomorrow.
Makers Diary- the audition
Ok have been thinking about the audition...actors and non-actors......girl, girl, girl or girl, girl, boy......
Here is a sort of check list for what I am looking for and the rough plan of what I intend to do at the auditions to judge if the performers fit that criteria:
It is really all about the three things that I have identified to date B.I.E (Brave, Imaginative and Engaging)
-Performers with a knowledge of or background in devised theatre and non-literary contemporary theatre practice; (even if this is just as an undergrad-that should be sufficient).
-Performers with additional performance skills such as dance, mime, physical theatre and circus skills.
-Commitment-to the project, to the work.
The Audition Plan (2hr session)
Physical Warm Up- stretches & instruction game
Vocal Warm Up- diaphragmic breathing exercises
Devising Warm Up- follow the leader, machine, trust & intro’s
Audition Tasks- Confessions, improve situations & read through
Relaxation- black liquid
Discussion & Info- all about the project
BREAK
Decisions & House Keeping- taking performers details and ava
I hope that these few simple things will enable me to get a really good look at the performers and afford me the opportunities to asses how they fit my criteria. I am so excited now and can’t wait to get into the rehearsal room and get to work! I really, really hope everyone comes to the audition. Oooh, I have butterflies and everything…I am not going to be able to catch a wink now.
Here is a sort of check list for what I am looking for and the rough plan of what I intend to do at the auditions to judge if the performers fit that criteria:
It is really all about the three things that I have identified to date B.I.E (Brave, Imaginative and Engaging)
-Performers with a knowledge of or background in devised theatre and non-literary contemporary theatre practice; (even if this is just as an undergrad-that should be sufficient).
-Performers with additional performance skills such as dance, mime, physical theatre and circus skills.
-Commitment-to the project, to the work.
The Audition Plan (2hr session)
Physical Warm Up- stretches & instruction game
Vocal Warm Up- diaphragmic breathing exercises
Devising Warm Up- follow the leader, machine, trust & intro’s
Audition Tasks- Confessions, improve situations & read through
Relaxation- black liquid
Discussion & Info- all about the project
BREAK
Decisions & House Keeping- taking performers details and ava
I hope that these few simple things will enable me to get a really good look at the performers and afford me the opportunities to asses how they fit my criteria. I am so excited now and can’t wait to get into the rehearsal room and get to work! I really, really hope everyone comes to the audition. Oooh, I have butterflies and everything…I am not going to be able to catch a wink now.
Sunday, 13 May 2007
Creators diary- Tunes
Got some tunes from Joe H today and they are pretty awesome...if I could figure it out, I would upload them onto here so that you can have a listen....I went through them and then sent him some feedback..here it is...might give you some idea of what the sounds are like..
I have had a good few listens to the tracks and here are my thoughts:
Disturbed-
I think that this track would really work to underpin the texts (the first two are attached, just so that you can get a feel for what its all about and the mood that I am creating). I think that it would work to set up the right atmosphere and would sound good on a loop. Would it be at all possible to add in some sounds of glass shattering and crunching underfoot? Also perhaps the sound of a man heavy breathing and struggling?
Musical Chairs 1-
I really like this track, would it be possible to add in a voice? Just perhaps some mumered sentances or a particular line that is incorporated? I don't know something like 'What are you doing' or 'She let him find her'
Musical Chairs 2-
This is my favourite of the three. Would it be possible to add in some kinds of female sexual sounds? Could it be a little more dirty and industrial at all?
Musical Chairs 3-
I think that this would could be a bit longer and a little more heavy on the beats and bass.
I was thinking, would it be possible tot combine the three into one long track, so that there are no breaks...it would just give me more flexibility with the game of musical chairs, so that there are no stops or pauses unless I have stopped the track?
Peacock Princess-
I really like this track and it could be the one which the audience comes in to as it sets up the right mood from the off. I was thinking that it might be good to perhaps have some kind of ethereal female whispering underlying the track..not so that you can make out what they are saying. Also would it possible to add in the occasional gasp, scream in an echoing sort of way?
You have really captured the mood that I was going for with all of the tracks.
For the undressing section of the piece..which sets up the rest of the tone and feel of the work could be something that begins ambient but builds into something more industrial, heavy, buzzing, dark and disturbing with a definitive ending. Needs to last approx 10 to 15 minutes but we will work to the track that you make.
I spoke with Rommel toady (a fellow PhD research student) he said to e-mail him all of the details and he will see if he is ava for the dates and if he is, he might actually do the show...yeah...not gonna get my hopes too high thou
I have had a good few listens to the tracks and here are my thoughts:
Disturbed-
I think that this track would really work to underpin the texts (the first two are attached, just so that you can get a feel for what its all about and the mood that I am creating). I think that it would work to set up the right atmosphere and would sound good on a loop. Would it be at all possible to add in some sounds of glass shattering and crunching underfoot? Also perhaps the sound of a man heavy breathing and struggling?
Musical Chairs 1-
I really like this track, would it be possible to add in a voice? Just perhaps some mumered sentances or a particular line that is incorporated? I don't know something like 'What are you doing' or 'She let him find her'
Musical Chairs 2-
This is my favourite of the three. Would it be possible to add in some kinds of female sexual sounds? Could it be a little more dirty and industrial at all?
Musical Chairs 3-
I think that this would could be a bit longer and a little more heavy on the beats and bass.
I was thinking, would it be possible tot combine the three into one long track, so that there are no breaks...it would just give me more flexibility with the game of musical chairs, so that there are no stops or pauses unless I have stopped the track?
Peacock Princess-
I really like this track and it could be the one which the audience comes in to as it sets up the right mood from the off. I was thinking that it might be good to perhaps have some kind of ethereal female whispering underlying the track..not so that you can make out what they are saying. Also would it possible to add in the occasional gasp, scream in an echoing sort of way?
You have really captured the mood that I was going for with all of the tracks.
For the undressing section of the piece..which sets up the rest of the tone and feel of the work could be something that begins ambient but builds into something more industrial, heavy, buzzing, dark and disturbing with a definitive ending. Needs to last approx 10 to 15 minutes but we will work to the track that you make.
I spoke with Rommel toady (a fellow PhD research student) he said to e-mail him all of the details and he will see if he is ava for the dates and if he is, he might actually do the show...yeah...not gonna get my hopes too high thou
Saturday, 12 May 2007
Creators diary- think about the big red one!
I have designed the 3rd dress and make some sketches for the phallus and how that is going to work....I did upload the pics but the one with the strap one has been removed by the admin ....bloody typical that is....it was obvious that it was not porn or anything like that...it looked like a fashion sketch...so I guess you will just have to use your imaginations...think big red, glossy and grotesque.....
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