Tuesday 24th November
All Together Now……….
Dear All.
And so we move on; as an ensemble rather than individuals or pairs.
We were still building on the learning of a sequence, but this time you generated the sequences both for full ensemble work and for smaller pieces. Crucially, the small group work was created using gestures and images drawn from real-life observation.
As with last week’s work, movements could be a simple or complex as you wish, pedestrian movements taken into abstract movements to emphasise or enhance a meaning.
It is important to reflect on the techniques used in yesterday’s session. The ‘clap’ method for devising work is designed to give the group the maximum opportunity to explore movement with the minimum of discussion and diversion from the task. This is difficult at first but now you have had an experience of this way of working you can refine the process and reduce the need to talk; difficult in large groups but necessary to get the full benefit from this technique.
We also learned that by adding intention and emotion to the series of gestures, meaning can be created and that meaning can be given greater intensity by having a clear focal point.
The creation of the ensemble piece and the methods used are huge steps forward in our working methods and a great addition to the palette.
Task for this week:
Continue to observe the everyday and ordinary, but this time look for those unusual and extraordinary moments within these pedestrian gestures. This week, do not superficially look or glance but, and again you need to be discrete, really observe the detail in people’s gestures and movement.
Questions for this week:
1. How effective did you find the ‘clap’ method in creating a sequence?
2. What was challenging for you in the large ensemble work?
3. What was challenging for you in the small ensemble work?
4. Comment on the physical and mental effort required in both the creation and the performance of the work?
5. In what way or ways did the music affect your performance? Think in terms of technique and emotion
6. 3 words for yesterday’s session
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1). the ‘clap’ method (for communicating ideas) proved to be successful when creating the large ensemble piece. The removal of discussion allowed the focus to remain at a high level, consequently making the work more productive and disciplined.
ReplyDelete2). the challenges of working in a large ensemble derive from individual preferences to movements. For e.g. someone may ‘clap’ show their idea and then others may not find it appealing or worthwhile enough to incorporate into the work. The huge variety of ideas for the sequence can become quite competitive, and affect the work negatively if discipline isn’t apparent during the creative process.
3). I cannot comment on the challenges of working in a small ensemble (for this week in particular) as I didn’t take part in the task. However, drawing from past experiences I should imagine that the problems are quite similar to working in a large group- opposing ideas for the piece? Also every individual is at a different physical (and emotional) level. If you were working in a group where the majority can meet high, risky, physical demands and you are uncomfortable with this, you could feel as though you’re slowing the creative process down. This would effectively have a negative impact on the group.
4). the physical and mental effort required for working both in the creation and performance of work, has to be one hundred percent. This is because your work (when working in groups) will affect others. There has to be an element of ‘team work’ to produce effective material and if your physical and mental input isn’t positive and concentrated, you will be intolerable to work with (as I have unfortunately experienced).
5). we have briefly discussed how the music in physical theatre is purely for the audiences benefit. As a result of watching the groups work I can reiterate how true this concept is. The use of music adds another dynamic to any physical performance, it also helps to situate sequences into specific contexts. E.g. one group created a piece about anti-social behaviour in a park. The music played on top of their routine enhanced the performance immensely, emphasising their punchy movements alongside an aggressive musical beat.
6). 3 words to sum up the session- creative, frustrating and reflective (my personal lack of self discipline).
Sophie Horton
The ‘clap’ method is an effective way at creating a sequence. Firstly, it minimises discussion in the group and focuses on using the body to create movement. It also reduces any conflict within the group because the idea of the method is to accept one another’s ‘claps’ and attempt to include that person’s idea into the piece. It also gives the quieter students, myself included, the chance to have input within the work without having to compete with others. The method requires discipline to be in constant use throughout the process.
ReplyDeleteDuring the large ensemble work, I challenged myself into standing right at the front which made me vulnerable but also more reliant on my body memory. Being at the front means you have no-one else to copy and so as a result I had to be confident in all the movements. It was distracting when either myself or someone in my eye line did an incorrect movement as it would cause my focus to decline. Therefore, my challenge is to simply continue with the work and not communicate this to the audience when this happens.
I felt it was challenging for the smaller group work to use the ‘clap’ method while creating a sequence. This is perhaps because in all the other modules, we are so used to discussing our work beforehand that a different approach can seem out of the ordinary. The ‘clap’ method does not work if only half of the group agree and so sometimes you are inclined to abandon this method if others in the group are also choosing to do so.
The work in the last session required a considerable amount of both physical and metal effort. It was physically tiring to keep the energy levels up and all the movements consistent towards the end of the large ensemble work music track. This is something in which I must work on. When performing to music or working as part of an ensemble, you have to keep a steady tempo and not slow down when you feel tired or make a mistake. The work was also mentally tiring in remembering the routine and maintaining an even tempo which complimented both the music and the other performers.
Music is an effective tool for adding layers to the work by creating meaning and context. It is also powerful at generating a rhythm in which the ensemble can follow to ensure everyone is in time with one another. In terms of emotion, the music can either compliment or contradict what is being communicated through the movement.
Three words to sum up the session:
Togetherness, ‘clap’ method and abstract.
Rachel O’Connor