Moving With Dancers

This past week I spent some time in the studio with some dancers from the undergraduate course at Coventry University. I wanted to explore the same sort of exercises I had done with my fellow actor colleagues to see how the outcome would differ with trained movers used to playing with their body. We did two exercises in the short time we had together the first was the same one I had done previously, ‘everyday hands’ (seen in previous post) finding common gestures they did everyday and distorting. The other was an exercise we had worked on in the intensive that I was excited to try, it is the connect, affect and disconnect, with someone in the centre.

We began with a short warmup in the style of Frantic Assembly’s Beautiful Burn out routine, repeating four different jumping moves for an entire 4 minute song. It gets the dancers ready and warmed up without wasting time teaching them difficult moves that will be hard to remember, particularly when time is so short.  And then we moved straight into the two exercises.

The everyday hands exercise began the same as I had done previously, finding four movements that you do everyday out of habit. They then learnt one move of each others to place in their own phrase, and had to loop it so it was a continuous stream of movements. After that, I gave them three words to apply to their phrase. Connect, heighten, and transform, they could interpret the words in any way that seemed best. Once they all had their phrases I asked them to speed up the pace to as fast as they could while also retaining the movement.

Here is the result of all three.

It is interesting to see that the detail is lost, as opposed to the original three small phrases I had seen. I have found that the words used to direct the manipulation of the movement is so important. Particularly when asking everyone to interpret those terms in their own way, you will always come out with something different from each person. This is great in some respects as it means you can utilise everyone’s imagination, but also it can mean when giving a direction like speeding up the movement certain detail is lost from the original task.

I can understand Frantic Assembly when they discuss the importance of layering, it is not possible to throw multiple directions onto someone and expect them to place every aspect of equal importance. This is the importance of muscle memory, giving the body a simple idea to settle and begin to add little bits at a time. This way you are retaining the important detail needed in movement while also being able to manipulate time, pace, speed, direction and any number of other possibilities of affecting the sequence.

I thoroughly enjoyed watching the phrases once I asked them to speed it up. Mainly because they enjoyed what they were doing, and that as an audience it can really shine through the movement. The other, disregarding the loss of detail, the movements coming from all three girls were things that would not have come if we were creating from scratch. Sometimes it is nice to start from a ridiculous point to work your way back, find the extreme so there is an understanding of no limitations. I find creativity becomes free flowing once we release our inhibitions.

The next task we explored was the connect, affect, disconnect. I had each person connect to the central mover, affect them in some way, and disconnect from the body. It is a simple task requiring basic movements, the only important aspect is that all contact is genuine. To be affected in some way the body needs to authentically be moved, not to ‘pretend’ the hand has moved from the shoulder down to the hand.

Here is Connect, affect, disconnect.

This task moved quite quickly once we all had spent some time understanding how the task works. What took the most time, was making sure contact was genuine. It was easy after the first few rounds to move past the affect moments and onto the disconnect as it is an easier direction to follow. So we always had to step back and really investigate how you can affect or be affected by someone else. You can see in the video that the times when the affect movement is authentic they are the most interesting to watch. It allows for momentum and real stops, so they are reacting from one another not making shapes individually with their own body. It is interesting to see that the need to move past creative mind blocks is present with anyone whether they are movers or not. The dancers were just as quick to disregard a connection that is not authentic as with anyone else. It is a hard thing to be in the moment finding a connection and ‘generating’ the affects from nowhere, and so after multiple rounds of the same direction it becomes harder to find something new. Which is why it is so important to have someone on the outside to give direction when needed.

 

 

Provocation 2 and Outline of Self Study Programme

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From the two week intensive with Frantic Assembly and the one on one tutorials with Simon, Scott, and Andrea I have now identified three areas I would like to focus and develop on over the next month. I will create a weekly list of tasks to complete and ultimately post onto this blog, to demonstrate my progress. There are many more things that I would like to continue looking into, however for now these are the important points that resonated with me.

The first is to do with directing, the intensive was highly focused on tasks that can be used to create movement, and interpreting how they come across from an outside directors perspective. I was very intrigued to find out more about the role a director. And am left with many questions. How do you facilitate a rehearsal? How much time is spent with the performers in the early stages of developing a work. Are they there from the beginning, or just for the practical aspect? How to develop a rehearsal schedule, that will be effective when put into practice. I understand everyone has a vastly different way of working, and I feel its important to branch out to find what might work best for me.

The other aspect I thoroughly enjoyed in the two weeks, was the collaborative nature of working with my colleagues. I so enjoyed creating and learning, particularly as most of the people were new to movement. It was fantastic to see that with the correct facilitation and movement tasks that anyone can create a phrase. I would like to focus on this further. By spending time with both dancers and actors, I would like to find out whether it is possible for me to create that same environment that is open and judgement free. Also to see whether I can get actors to find ways of moving they had not experienced, and for dancers to break some of their habitual ways of moving and approach creating from another perspective.

The last goal I have for myself, is actually a principle that Scott had discussed while breaking down a phrase someone had created. It is called ‘The potential for movement’. The idea that the moment before a movement of any sort be it small or large is what holds an audience, the special secret that holds the most potential for any possibility. I am going to look into this aspect of theatre, to see where it lies. Whether it can be found in other elements of theatre not just movement. I would also like to personally spend time finding where it does fit when creating movement.

 

These are the weekly tasks I have set up for myself. At the moment they are a broad example for every week, and will be broken down as specific events are organised.

Find three specific directing techniques for creating work that fit into my own practice.

  • Email artists to ask whether I can observe and discuss their personal ways of directing a show.
  • See some live shows and attend post show talks to find out more about their process.
  • Research and gain a greater understanding of preconceived structured directing roles. Where they come from? Practically how it works? Why it is an effective way of directing?

 

Develop my own experience within movement directing and experiment with a mixture of creatives who are and are not comfortable with movement.

  • Create a conversation with both the dance and drama department at Coventry University and see whether I can connect with some of their undergrad students to come together and create movement.
  • Build a personal warmup and movement devising plan to use within workshops.
  • Document any personal or group practical research, to keep track of development.

 

Research and analyse the idea of ‘potential for movement’.

  • Research shows that play with that moment, and analyse whether these moments are in fact important and if so how are they relevant.
  • Create weekly phrases from my own movement play or with others, document, and anaylse whether they were successful or not.
  • Create conversations with both dance and theatre practitioners, discussing this very aspect of movement creating.

The resources I will need for these activities mainly lay within Coventry Universities studios and technology. The city is close to both Birmingham and London, that have a plethora of shows and rehearsals to observe. I will also be in communication with both the theatre and dance department at Coventry University and also Frantic Assembly as a starting point for contacts.