MOVEMENT FOR THE ACTOR
Let’s get physical.
It’s been a loooog time, since I’ve done any physical
theatre, movement development, and it really shows. After 2 sessions and a saw
back, I can see that there is room for improvement, but at the same time great
performance potential with the inclusion of a physical aspect.
I NEED A $
Amy our movement/physical theatre tutor taught us a dance
movement routine. It seemed to be a
routine that included a combination of movements that touched on timing,
coordination, energy, balance, focus, detail, and memory.
It contained a wide variety of movements, at different
speeds that explored our physical range.
After learning the first section to the routine I was
pleasantly surprised with how I did. Not being a dancer or used to performing
routines I was happy that I managed to perform the routine with the correct
timings, and physical expression. Being 6foot 4inches tall I am aware that I
hold a huge stage presence and that this is to be embraced. I focused on making
big movements, extending my arms and
taking big strides when possible. This is something that I am comfortable with
now I’ve embraced my body shape, rather than trying to look small to avoid standing
out to fit in with everyone else. I now
appreciate how my natural physical appearance is a great asset in playing
certain characters, especially those of a high status such as a boss, mob boss,
authority figure, or a villain. It’s important that in being 6ft 4, I stand 6ft
4 on stage.
I do find though that because my limbs are larger, my
movements are bigger and take longer to complete, so my timings can be just off.
My Coordination is
variable. I’m good at coordinating the upper part of my body, especially with
arm movements as I spent some time in the past playing Poi. To be able to do
moves and tricks in Poi you have to have great coordination, and timing,
especially to perform advanced moves.
Coordination with my feet is another story though. One of
the hindrances of me being so tall is that I have long legs and big feet.
Although my coordination isn’t terrible there is definitely room for
improvement.
A stumbling block I have is bad knees. Many years ago I had an accident and operation on my
left knee, and due to my left knee being out of action I over compensated on my
right knee, so now I have problems with both knees. Due to this I have limited
flexibility with both legs, and suffer discomfort. This I’m taking into account
as in creating my personal development plan, as I hope to make improvements.
We went through a series of movement exercises where I had
the opportunity to see how comfortable I am with using my body.
We moved across the space exploring walking, running,
sprinting, jumping, leaping, and falling.
In doing this I discovered more weaknesses than strengths,
though I like to call them ‘rooms for improvement’.
Lack of Balance
and Flexibility are what stood out
to me, especially when leaping. I was unable to get my back leg straight and
high. Once again I see how these could be linked to the problems I have with my
legs and knees. Coordination again was an issue as I found it challenging
transferring from running to jumping and back again.
Focus is very
important in performing these movements, as you need to coordinate upper and
lower body movements simultaneously.
What I realized from these exercises is that we all have
different bodies with different capabilities. What my body is capable of is
different from everyone else and vice versa. Knowing and accepting my body’s capabilities,
frees me to enjoy and learn how to use my body to its best ability.
THE MOVEMENT WITHIN YOU
The task was to make my way from one side of the room to the
other using a variety of at least 10 different movements.
The hardest part of this task was to block out the thoughts
of everybody watching me. The aim of this was to see “How me move, how we use
our bodies”.
"HOW WE USE OUR BODIES"
I never thought of it that way before. I use my body. I suppose a dancer would probably think that way all
the time. But as primarily an actor, I’ve never thought of it that way before. Martha Graham was known for her performers using their bodies to expose basic human emotions through movement.
IT'S MY BODY
"In order to express the passion, rage and ecstasy of humans, she developed her very own language of movement. " expose basic human emotions through movement".
IT'S MY BODY
I had a look at the anatomical make up of my body
http://www.innerbody.com/htm/body.html
http://www.bbc.co.uk/science/humanbody/body/index.shtml?organs
http://www.bbc.co.uk/science/humanbody/body/index.shtml?organs
As I made my way across the space I noticed that I did
movements that I was comfortable with, which were mostly moves I’ve done before. We continued with the same exercise this time
experimenting with Levels. On the 2nd
attempt we were asked to focus on high-level
movements as we travelled. This seemed to suit me best, as I’m already
quite high being tall. I experimented with a high jump and upward reaching movements that pleased the
class, seeing me high in the air with my feet far off the ground. But I found
myself overall playing it safe, mostly due to lack of creativity and knowledge
of what I could possibly do. This lead me to thinking that it would be good to
experiment with different styles of
movement. On the final attempt we
focused on low-level movements,
getting as low to the ground as possible. During this attempt I saw for the
first time characters develop, the slow atmospheric music also added to
this, but through the group as a whole we all seemed to take on a dark, moody,
predatory, mysterious character. Another factor was that because we were low
and on the ground, the speed of our movement decreased also, which added to the
creeping feel of the movement.
THE TRUST FACTOR
In this exercise a pair had to make their way across the
space remaining in contact the entire time (no holding of hands – that’s
cheating). The movements had to vary, and there was to be no preplanning or
preparation. There was to be a natural progression of movement.
After the first attempt what stood out was that there needed
to be a sense of trust with the person
you’re working with, especially if you are touching and making body contact
with a person of the opposite sex. There needs to be a sense of freedom in
order for the movement to flow.
I researched and found a workshop specifically for building trust in performance. Debbie Green from Central School of Speech and Drama runs this workshop. "The aim of a trust exercise is receptive interaction among participants to enhance responsiveness and orientation in the body"
http://www.lancs.ac.uk/palatine/AGP/exercise2.htm
Second time around there was more trust and confidence having already had one attempt. What stood out the second time around was the need for unity and cooperation. There had to be a mutual cooperation, rather than individual direction. If one partner were doing his or her own thing, the other partner would be left alone and the pair would be separate.
I researched and found a workshop specifically for building trust in performance. Debbie Green from Central School of Speech and Drama runs this workshop. "The aim of a trust exercise is receptive interaction among participants to enhance responsiveness and orientation in the body"
http://www.lancs.ac.uk/palatine/AGP/exercise2.htm
Second time around there was more trust and confidence having already had one attempt. What stood out the second time around was the need for unity and cooperation. There had to be a mutual cooperation, rather than individual direction. If one partner were doing his or her own thing, the other partner would be left alone and the pair would be separate.
For the final attempt we travelled across the space as a
large group. The first time around it didn’t work, as there was no unison
within the group. On addressing that we slowed it down considerably in order to
find a pulse/ a heartbeat within the
group. With this mind-set flowing
through the group, we resembled a Body, with different parts, all helping and
enjoying one another as we travelled through the space.
http://www.youtube.com/watch?v=6skXIdCvmF0
http://www.youtube.com/watch?v=6skXIdCvmF0
SUMMARY week1
So the areas that I’ve identified so far that need the most
improvement are:
BALANCE, FLEXIBILITY, and COORDINATION (LO 2.1)
Problem areas that I will have to look into are my KNEE JOINTS
Some areas I'll be exploring further are:
What it means to USE MY BODY
To be COMFORTABLE WITH MY BODY
and how will I EXPERIMENT WITH DIFFERENT STYLES OF MOVEMENT
ASSESSMENT WORKSHOP
JOINTS – FELDENKRAIS & PILATES Wednesday November 14th
2012
My movement project partner Sinead and I will be doing a lesson warm up focusing on body JOINTS, using methodologies from the Feldenkrais and Pilates
 |
| SINEAD MADDIX |
For our assessment workshop
Sinead and myself decided that one of us would focus on Feldenkrais
methodology, and the other on Pilates. I chose Pilates
Structure
As with most projects I
undertake I like to get the structure in place first as this helps focus the
planning of what is to come.
I thought it was essential
to first identify and explore what a 'Joint' is before explaining how we can
apply the different methodologies to working with the Joint.
I wanted to answer these
questions
What is a Joint?
What is a Joint's function?
How does a Joint relate to
a performer?
What problems occur with
Joints?
What I wanted to find was
the relevance of the joints in regards to the performer.
To answer the first two
questions of, ‘What is a Joint?’ and ‘What is a Joint's function?’ I did
extensive online research and exploration into Joints.
I started with the first
question of, 'What is a Joint', which lead me to the discovery that there are
different types of joints, and various ways that joints are classified, and the
name the joint goes by depends on it's classification. For instance joints can
be classified by Function (what they do) or by Structure (what they are made up
of).
For the purpose of our
movement class I chose the functional classification. This lead me onto
discovering the different functions of joints, and the different make of the
joints. Most of my research material I found was on Wikipedia.
There was so much
information at hand and in great detail, but I new this could be overwhelming
for the class to take in such complex information. I wanted to simplify it so
the class participants could gain a basic knowledge of how joints work so they
could use it to their advantage in developing a plan in how to take care of and
improve their joints.
I decided the best way to
communicate this would be with a simple PowerPoint presentation where the
different aspects of joints could be broken down and explained clearly one at a
time.
The PowerPoint contained
What is a joint?
Where are the joints?
The different types of
joints
The function of a joint
Make up of a joint
Problems that occur with
joints
The important of healthy
joints to a Performer
Using a PowerPoint I was
also able to include many pictures of joints and the skeleton as a visual aid
while explaining the complexity of the joints.
By the end of the
PowerPoint the participants have a basic understanding of what a joint is, how
it relates to the performer, and the problems performers can have with
unhealthy joints. During the presentation we did an exercise where we asked the participants to simply walk across the room without using their joints, which was impossible. This was a simple demonstration to show the importance of the joints in movement. Which set up the next section of the seminar where we
introduced the practitioners Pilates and Feldenkrais, and looked at how those
methodologies benefit joints and the performer.
PILATES
Pilates was the
practitioner that I was assigned to.
I wanted to answer the
questions:
What
is Pilates?
What
are the benefits of Pilates?
What
are the benefits of Pilates in regards to Joints?
What
are the benefits of Pilates in regards to Performers?
How
Pilates would benefit a performer and their joints was what I wanted to find
out.
And
I started this by researching into, ‘What is Pilates, and it’s benefits?’ I
came across many Pilate’s practitioners who had many great endorsements for the
exercise. Key benefits that were highlighted were focused breathing, proper alignment and balance. All which are
important to the performer.
I did specific research into exercise that focus on
joints, and found that Pilates has many, that not only focus on limiting damage
to joints but improving them also.
Pilates is a recommender regime for people suffering
with Arthritis, making it the perfect joint workout.
Pilates is beneficial to the joints, and to the performer.
I resourced some simple but effective Pilate’s exercises that focus on the main joints of the body. I chose simply exercises that the participants could do at their own leisure.
Pilates Workout
Neck
Neck Rolls
Shoulders
Shoulder exercises
http://www.youtube.com/watch?v=43sQVo0L0jU
Arms
Arm Circles
Hips and Knees
Hip & Knee
Stretches
Hip & Knee
Strengthening
Strengthening
the Quads
http://www.youtube.com/watch?v=HVV13_Ggc5o
Knee Dance
Feet
Foot Exercises
My aim was to show how Pilates based exercise is effective in
improving the movement of a performer by improving the health and flexibility
of joints.
The feedback we got we generally positive, and encouraging. The participants enjoyed the seminar, and found it informative, and engaging. Our depth of knowledge on the Joints and the practitioners impressed them, as well as our communication and teamwork in the delivery. It was the time taken in research and preparation that allowed the seminar to run smoothly and effectively. The one point that we were given for improvement was that we didn’t compare the 2 practitioners to each other, showing the comparisons and differences. This was probably due us looking at the practitioners separately and not together.
My evaluation of my seminar after receiving feedback and taking part in other movement seminars is overall positive. Our participants went away with a basic understanding of the joints, and how the 2 methodologies can improve their physical condition in regards to performing. What i would do to improve on this would be to include some Theatre games where the connection between joints and performance would be highlighted.
Here is a link to the PowerPoint presentation to be referenced as notes
https://www.box.com/s/q111w5kdh8nd4qlj326k
Peer evaluation of Movement Seminar
I chose to evaluate The seminar of Eve and Lori as is was possibly the most contrasting to mine. As my seminar was very theoretical and structured using a Powerpoint presentation, this groups communicated their seminar in a very creative and interactive manner. Eve and Lori presented their seminar as the practitioners themselves, as they took and the characters of Frederick Alexandre and Moshe Feldenkrais.
The pair talked about and demonstrated the 2 methods from the contrasting practitioners perspective, which was engaging and entertaining. As we watched 2 very feminine
woman play 2 males.
The Muscles were their anatomy topic which they taught on. This was also made fun as they related to the make up of muscles to Marshmallow twist, which they kindly brought in for the group to explore, then eat!
After being placed into groups we where then given the task of devising a short piece, where our character would be determined by the costume item we were given. We had to create a character, and fitting muscularity based on the costume item. I had an pirate hat and eye mask, so I adopted a limp, and a menacing looking tension in the upper body. This was a good way of exploring how different characters could have a certain emphasis on specific muscles.
What I enjoyed most about this seminar was how the learning was creative, fun and interactive. For my future seminars I will try to include more of these aspects.
PERSONAL DEVELOPMENT PROGRAM (LO 2.2)
Laban Efforts
A look at The Laban efforts and how they can be used to create a character.
Laban contains 8 basic efforts which we use during everyday life in both our movement and speech, however we do not necessarily use them all. Individually we have our own mannerisms and personality that affect our movement range. When we express extreme emotions, i.e. anger, we extend the range of our everyday movements.
Fast - Slow
Strong - Light
Punch: Direct Fast Strong
Dab: Direct Fast Light
Press: Direct Slow Strong
Glide: Direct Slow Light
Slash: Indirect Fast Strong
Flick: Indirect Fast Light
Wring: Indirect Slow Strong
Float: Indirect Slow Light
So for instance a 'punch' movement would be Direct, Fast, and Strong. This isn’t limited to punching with your fist, it can be in the way you walk, the way you turn or lift your head, or in the way you speak. All of these different efforts can be used in creating a character.
Extreme Effort
An exercise was performed where the Laban efforts were explored in the creation of a character. The participants were asked to walk around the room, and then while doing so to adopt different Laban efforts to their walking style. So at first walking in neutral they would then adopt the effort of ‘Punch’ to their walk, but it would be done to the extreme. Picturing a scale of 10 - 1, 10 being the extreme would be like walking around like the Incredible Hulk. Extremely direct, heavy strong, and fast. The task then was to slowly bring this extreme punchy movement down the scale from 10 to number 1, who would be a everyday character, but still retaining the punchy elements to the walk.
This was then repeated with the remaining 7 basic efforts.
This exercise was effective in exploring the creation of different physical aspects to a character. For example In playing a character who is in the Armed Forces I would consider adopting the ‘Punch’ effort as that would assist in creating, and displaying the regimented side of the character.
This video shows how the Laban Efforts can be incorporated in character creation
http://www.youtube.com/watch?v=T7gDQdWnWFc
This video contains a demonstration of the Laban efforts incorporated into a movement piece
http://www.youtube.com/watch?v=g1IFquWCrCw&playnext=1&list=PL2MbuaGKZHrLlQfNlnR0zUGJCTw7rJENb&feature=results_main
Seven levels of Tension
These are the different levels of tension that a performer can take on within their body during performance in portraying a character.
The 7 levels of tension are:
Creating a movement piece based on a Poem
GOD SAID NO
For the creation of our movement pieces we are using poems for our stimuli.
The poem that I chose is ‘God said No’ by a Claudia Minden Weisz. I chose this poem because I could relate to it, and really felt what the writer’s dilemma must have been like. Plus I liked it.
Creating the movement
Step 1 – Gestures
a) Pedestrian
From the poem 3 gestures were needed that related to the poem. These had to be Pedestrian Gestures. Which are gestures that you would see everyday such as waving, yawning, shaking of the head etc.
b) Stylized
Also from the poem 3 Stylized gestures had to be created. This is a gesture that you would automatically relate to it meaning. For example if the gesture was a wave to say hello, instead of using the hand to wave you could use the whole body in a waving motion, or do a star jump to call for attention. The point is for the gesture to not be to obvious but still link.
So there are 6 gestures in all, 3 Pedestrian and 3 Stylized.
Step 2 – The Motif had to summarize the context of what the poem is about
a) The Motif (a motif is a movement, short phrase or gesture, which is repeated throughout a dance, and represents a theme or idea)
b) Developing the Motif (You can develop it by changing the dimensions and dynamics)
c) Variation of the Motif (You can vary it by changing the levels, facing etc.)
So I have my Pedestrian gestures, Stylized gestures, and Motif.
Performance of a Poetic piece.
It was time to perform the movement piece that was made from the poem. I decided to put a piece of classical music to it, as I felt this particular piece of music would emphasize the journey that takes place throughout the piece. The music has varied tempo, pace and energy that flows alongside with the movement.
My Performance
Evaluating my performance
I was pleased with my overall movement piece. I felt that I managed to include and explore many of the different aspects of movement that I have learnt over the past couple of months. And I was happy with the with how I performed, and engaged the audience.
In regard to improvement, what I noticed from my performance was that it lacked fluidity. There seemed to be many times where it felt, an looked slightly static, and repetitive. I put this down to myself not being fully comfortable with my body and movement. I played it safe throughout the piece, and never really toke any risks. I also noticed by watching the video footage of my performance that the shapes I thought I was making with my body, I was not. At times I thought my body was getting low to the ground, but watching the footage showed me otherwise. I put this down to my limited flexibility, which I will be working on improvement program. Tension in my shoulders was also visible on the video footage. I could clearly see how my shoulders are raised, which is what I do when i’m tense. Tension is good when displaying a tense character, but it should not be seen in the performer. I will look into this further and research exercises and techniques that will help with releasing tension before performance.
Improvements points
This is a Pilates video i’ll be using to improve my flexibility
http://www.youtube.com/watch?v=Ia5ZTVQnsBw
In our group we had a discussion about what thoughts, feelings, and ideas we got from the set. We listed these words
Performance evaluation
The per
PERSONAL DEVELOPMENT PROGRAM continued
(LO 3.1 & 3.2)
In developing my movement as a performer I have been concentrating on improving my Balance and Flexibility. Over the past 2 months I have taken time in developing myself by carrying out routine exercises I discovered while exploring the Pilates technique. I have focused specifically on Pilates exercises that are aimed at improving balance and flexibility. I have chosen to use Pilates intentionally as it allows me to do focused exercise but with minimum impact. Which is vital for me as I have problems with my knees.
I have found that I have made improvements in both my balance and flexibility since carrying out this program. I will continue to do these exercises to gain further improvement.
HARVARD REFERENCES
http://en.wikipedia.org/wiki/Synovial_joint (Accessed Nov 12th 2012)
http://pilatessportscenter.com/studio/instructors/seth-hampton/ (Accessed Nov 12th 2012)
http://en.wikipedia.org/wiki/Balance_(ability)
(Accessed Dec 19th 2012)
http://www.lancs.ac.uk/palatine/AGP/exercise2.htm
(Accessed Dec 19th 2012)
http://dance.about.com/od/solodancestyles/p/Modern_Dance.htm
(Accessed Dec 19th 2012)
http://www.danceadvantage.net/2011/01/19/better-balance/
(Accessed Dec 19th 2012)
SEMINAR FEEDBACK AND EVALUATION
The feedback we got we generally positive, and encouraging. The participants enjoyed the seminar, and found it informative, and engaging. Our depth of knowledge on the Joints and the practitioners impressed them, as well as our communication and teamwork in the delivery. It was the time taken in research and preparation that allowed the seminar to run smoothly and effectively. The one point that we were given for improvement was that we didn’t compare the 2 practitioners to each other, showing the comparisons and differences. This was probably due us looking at the practitioners separately and not together.
My evaluation of my seminar after receiving feedback and taking part in other movement seminars is overall positive. Our participants went away with a basic understanding of the joints, and how the 2 methodologies can improve their physical condition in regards to performing. What i would do to improve on this would be to include some Theatre games where the connection between joints and performance would be highlighted.
Here is a link to the PowerPoint presentation to be referenced as notes
https://www.box.com/s/q111w5kdh8nd4qlj326k
Peer evaluation of Movement Seminar
I chose to evaluate The seminar of Eve and Lori as is was possibly the most contrasting to mine. As my seminar was very theoretical and structured using a Powerpoint presentation, this groups communicated their seminar in a very creative and interactive manner. Eve and Lori presented their seminar as the practitioners themselves, as they took and the characters of Frederick Alexandre and Moshe Feldenkrais.
 |
| Demonstrating exercise |
 |
| Lori & Eve as Alexander & Feldenkrais |
woman play 2 males.
 |
| Tasty muscles |
After being placed into groups we where then given the task of devising a short piece, where our character would be determined by the costume item we were given. We had to create a character, and fitting muscularity based on the costume item. I had an pirate hat and eye mask, so I adopted a limp, and a menacing looking tension in the upper body. This was a good way of exploring how different characters could have a certain emphasis on specific muscles.
What I enjoyed most about this seminar was how the learning was creative, fun and interactive. For my future seminars I will try to include more of these aspects.
PERSONAL DEVELOPMENT PROGRAM (LO 2.2)
Balance
Amy Taylor our movement tutor taught us a new movement routine today. The routine starts with a sequence of movements where you balance on one leg, and swinging the other backwards, forward, and side to side. During this routine I found that I had difficulty keeping my balance, especially when standing on my right leg and swinging my left leg. Balance is a weakness that I identified and noted from previous class exercises. So I am going to work on improving my balance. But How?
What is balance and how do you improve it?
“Balance is, simply put, the ability to stay stable and not fall as we move within and beyond our base of support (normally our feet in everyday navigation).”
- Dance Advantage
Balance is your ability to maintain your center of gravity over your base of support. When you're standing up, your legs are your base of support. The wider your legs are, the wider your base is and the easier it is to balance. The closer your legs are together, the narrower your base of support is and the harder it is to remain balanced. And so balancing on just one leg is even harder. (LO 2.1)
To improve your balance you need to practice balancing. From the movement seminars I learnt that Pilates is effective in improving balance as it works on body alignment and core strength.
Over the next 2 weeks I will spend 20 minutes 3 times a week doing Pilates exercises that are focused on improving balance.
I will record my progress on a table so I monitor any improvements, and any significant findings.
Here is some Pilate’s exercise that I found that will help me to improve my balance.
http://pilates.wonderhowto.com/how-to/improve-standing-balance-with-pilates-franklin-balls-381576/
Here is a non-Pilates balance exercise that I found interesting.
The effort would be made appropriate to the task at hand. For example, when throwing a punch, it would be and look silly and ineffective to employ the floating effort. It would be more effective to use a direct or strong effort. So you would apply the appropriate effort for the appropriate movement.
We looked at 3 Dynamics that identify the 8 basic efforts
Direct - Indirect Fast - Slow
Strong - Light
Dab: Direct Fast Light
Press: Direct Slow Strong
Glide: Direct Slow Light
Slash: Indirect Fast Strong
Flick: Indirect Fast Light
Wring: Indirect Slow Strong
Float: Indirect Slow Light
An exercise was performed where the Laban efforts were explored in the creation of a character. The participants were asked to walk around the room, and then while doing so to adopt different Laban efforts to their walking style. So at first walking in neutral they would then adopt the effort of ‘Punch’ to their walk, but it would be done to the extreme. Picturing a scale of 10 - 1, 10 being the extreme would be like walking around like the Incredible Hulk. Extremely direct, heavy strong, and fast. The task then was to slowly bring this extreme punchy movement down the scale from 10 to number 1, who would be a everyday character, but still retaining the punchy elements to the walk. This was then repeated with the remaining 7 basic efforts.
- CATATONIC
- Coma – No tension – Baby – Drunk
This level could be used to portray a character who is physically or mentally disabled, drunk or perhaps without a care in the world.
- RELAXED
- Californian – laid back
A character that is relaxed, easy going.
- NEUTRAL
- Economic – Contemporary Dance
A character in everyday existence, not particular relaxed or stressed
- ALERT
- Light, Air, Sigh, Float, Farce
Character who is alert and perhaps expecting something to happen
- SUSPENSE
- Melodrama
The character is on edge, expecting
- PASSIONATE
- Opera
The character uses tension to communicate feelings
- TRAGIC
- Complete tension, Immobility
The character is consumed by tension due to a tragic event
Tension levels are good ways to indicate the state of a character during a performance. The levels of tension within the character should change throughout the piece as the characters circumstances change. If a character was drunk and partying their tension level would be a 1 or 2, but if in the next scene the drunken character got into a physical altercation, their tension level would certainly rise.
Levels of tension are good indicators into seeing a characters thoughts, feelings, and attitudes.
In the production of 3 sisters I am playing Chebutykin who is an gentleman of nearly 60 years of age who describes himself as, ‘an worthless old man’. Throughout the beginning of the play he makes jokes (mostly for his own enjoyment), reads the newspaper, pays loving compliments to the sisters and general potters about. The text would suggest that at this point in the play Chebutykin’s tension level is either Relaxed or Neutral. I will explore the text to see if there is a period where Chebutykin’s tension level could or does change.
- Continue to improve on balance
- Start training for improved flexibility
The Wake - movement assignment
The Wake was a performance that was shown in the MAC that was based on the passing of 2012. It had unusual set which was the amalgamation of a Forest and a Bedroom.
 | |
|
 |
| Leaves in the bedside drawer |
 |
| The wardrobe had the sound of a river coming from it |
 |
| The double bed had mens and women's night clothes on either side |
Escape Jumanji Chosen Isolation
Eerie Creepy Outdoors
Scary Footsteps Inside Outside
Creepy Sadness Chosen Isolation
Safe Old couple Holding on
Feeling connected to nature
We continued our discussion with these words in mind aiming to find a common ground for our starting point to create a movement piece.
The group all connected with the idea of an Old couple being at home in the forest. Through our discussion a story developed of a couple escaping everyday life in a busy city, breaking the shackles of society into the freedom of nature which is the forest. This was our story, now we had to tell it through movement.
Storyboard
We broke the piece down into sections, which allowed us to focus on creating specific types of movement that would best express that section.
The piece broke down into 4/5 sections
The Escape
Discovery
Fear
Adjustment/Home
Throughout creating the piece I wanted to explore the diverse use of the Laban efforts, and contact work.
(LO 4.1)
(LO 4.1)
Section 1 - The Escape
In depicting the escape from a monotonous working life, the use robotic movements portrayed the repetitive cycle that was soon to be broken. Punchy Laban efforts were used in this section as they best depicted robotic movements.
Section 2 - Discovery
The start of this section was performed on the ground with slow movements to represent the discovery of nature, and a longing to be in tune with nature. The ground, the smells and whole environment. We explored using low levels, in conjunction with the Wring Laban effort.
Section 3 - Fear
This section took on a faster pace, using different levels, collisions, contact and lifts. During the creation of this section we met with an obstacle. We had in mind to perform a certain lift, but due to the different physical capabilities of the group, both pairs were unable to perform the same lift. We overcame this by performing 2 different types of lifts that still portrayed the look of fear but were physically within the groups capability. At this point the levels of tension were most visible.
Section 4 - Adjustment/Home
To show the adjustment phase the pace slowed right down as we came together. We utilized the fluid flowing movements through slow body contact work to create images with our bodies. This was to represent the adjusting to the environment, like how water adjusts to whatever environment it is in.
Through our bodies we created images that represented ‘Home’, such as an ‘armchair’. Our bodies weaving in and out slowly throughout this section until we ended on our final image of a mighty Tree. We used levels and lots of body contact during this sequence.
Performance evaluation
The per
(LO 3.1 & 3.2)
In developing my movement as a performer I have been concentrating on improving my Balance and Flexibility. Over the past 2 months I have taken time in developing myself by carrying out routine exercises I discovered while exploring the Pilates technique. I have focused specifically on Pilates exercises that are aimed at improving balance and flexibility. I have chosen to use Pilates intentionally as it allows me to do focused exercise but with minimum impact. Which is vital for me as I have problems with my knees.
I have found that I have made improvements in both my balance and flexibility since carrying out this program. I will continue to do these exercises to gain further improvement.
HARVARD REFERENCES
http://en.wikipedia.org/wiki/Synovial_joint (Accessed Nov 12th 2012)
http://pilatessportscenter.com/studio/instructors/seth-hampton/ (Accessed Nov 12th 2012)
http://en.wikipedia.org/wiki/Balance_(ability)
(Accessed Dec 19th 2012)
http://www.lancs.ac.uk/palatine/AGP/exercise2.htm
(Accessed Dec 19th 2012)
http://dance.about.com/od/solodancestyles/p/Modern_Dance.htm
(Accessed Dec 19th 2012)
http://www.danceadvantage.net/2011/01/19/better-balance/
(Accessed Dec 19th 2012)
