In this lesson, we began with a "Sun Salutation" in order to concentrate our minds on experimenting and devising, letting go of all personal tensions. In partners, we then embarked on a short exercise in which we utilised slow motion fighting using at first only our arms and legs and following this, only our torso's in order to use the whole range of our bodies for devising and experimenting in order to perform unique shapes and contortions.
We then attempted to tap into our prime-evil state by performing a "Circle ritual" for which we came up with a unique impulsive chant which we repeated in unison. In partners, we then came up with unique sounds and in closing our eyes, were able to find one another using the unique sounds we came up with by utilising our sense of sound and touch.
As a group, we discussed settings and ideas for our "experimental performance" and in doing this, had to individually come up with devised performances. For my idea, I decided to create an old man in a pub who spoke poetically to himself, utilising a rhythmic and eerie atmosphere.
Lastly in groups, we embarked on an exercise for which we had to make "continual rituals" utilising themes of "triumph", "fertility", "death" and "loss".
What Went Well?
In beginning with a "Sun Salutation", I was able to concentrate and focus my mind for devising and experimenting work for performance. In my opinion, this helped me with the exercise in which I had to use my full focus and coordination in order to perform a small section of combat stage fighting. The work we had accumulated on Grotowski, Artaud and Brook was beneficial in broadening my understanding of feeling impulses from the subconscious in order to perform a successful "Circle ritual" chant. The chant also played a substantial part in forming an overall basic structure for our final experimental performance. (The idea of ridding Britain of all its consumerist values and ideals.) The final devising exercise was useful in creating material for which we could shape and develop our performance around.
In beginning with a "Sun Salutation", I was able to concentrate and focus my mind for devising and experimenting work for performance. In my opinion, this helped me with the exercise in which I had to use my full focus and coordination in order to perform a small section of combat stage fighting. The work we had accumulated on Grotowski, Artaud and Brook was beneficial in broadening my understanding of feeling impulses from the subconscious in order to perform a successful "Circle ritual" chant. The chant also played a substantial part in forming an overall basic structure for our final experimental performance. (The idea of ridding Britain of all its consumerist values and ideals.) The final devising exercise was useful in creating material for which we could shape and develop our performance around.
Even Better If?
If we had increased our belief and understanding in the "Circle ritual", I believe we could have conveyed our message of placing Britain back in its naturalist state to a further extent. At this point in the devising process, I felt that many individuals including myself were not able to commit fully to the demands of the "Circle ritual" due to its new and unusual nature for which many of us were unfamiliar. However, I also understand that in these early workshops, we would have not been able to execute work which was ready for performance and therefore understand that in further practising and understanding the requirements of the ritual in itself, we would have been able to improve its demands to the task in a more believable way.
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