Following this, we read through an extract from "Frantic Assembly's Book of Devising Theatre" (pictured below).
For the remainder of the session we set our focus upon turning existing movement into muscle memory in order to work towards seamless transitions between movements, so that we could begin to introduce dynamics that will convey the intended story and explore the following possibilities:
a. Performing with as much eye contact as possible
This proved to be difficult with our piece due to the obstruction of the table.
This proved to be difficult with our piece due to the obstruction of the table.
b. With one performer constantly looking forward as if watching TV
This idea works really well with our own chair motif.
This idea works really well with our own chair motif.
c. Try performing the material in other places (stairs, floor, table)
d. And a choice of their own bespoke performance possibility.
The above video shows possibly the most complex choreography exploration of the class in that it uses intricate and detailed explorations:
ReplyDelete- small detailed moments of contact that are fleeting and fast paced
- use of barrier between the dancers (the table) so the performers are really interrogating how the table helps to convey the meaning of their performance piece - which in this case explores the argument between a couple.
- moments of contrast between the two sides of the couple, Megan chooses for her character to be calm and gentle mannered whilst Matthew's character is flippant and chaotic in his movements. They use this to create a driving feeling around the moments. Megan proves a range of uses for the table and the chairs working over, under, around and at times through the table. D1