We spent half of the day in the theatre. Our focus became primarily on the layout of the corridor and also the time spent time considering the length of time we may need for each stage of the tour.
I have no experience of freak fests or similar experiences. Instead I tried to take on board the other students details and also Sonia's input. This not a typical performance, where the audience is positioned in front of the performers, it’s a tour. The performance length can vary depending on the act. Ideally, the tour should be as short or long as it needs to be. Potentially, depending on the act or the reactions of the visitors, the individual performances should be around 3-5 mins maximum. However, certain performers such as Riley, will be flexible and have temporary moments. With my character, I will look to vary the time I perform depending on the reactions of the guests. I could literally burst out for a split second and then retreat to hiding. I could play with my biomechanics until the visitor loses interest. Shows can typically last 15-20 minutes, larger ones 30+ minutes. As our performance is scaled down, in total we are looking at around 10 minutes maximum depending on the visitor numbers and success of each tour. This performance is dependent on breaking the 4th wall and making the visitors part of the show. In that sense, this performance can be described as Pantomime and Brechtian theatre, crossed with horror and theatre of cruelty, mixed into a circus themed performance. Impro is essential and each tour will be unique in time and style.
We explored how we will layout the corridor and potential props and tactics we can use. The class have many suggestions. The use of corners is important as it prevents the visitors from seeing what's ahead. Key parts of the corridor will include and fabric wall that we can push our hands and faces into. Cobwebs will be deployed, with the aim that the cobwebs get denser towards the end of the passageway. We also plan to utilise 1-2 performers within the corridor phase. This would probably be Connor, who can be released during this phase. Jess also came up with using a tight fabric door that is difficult to push through. Secret doors and passageways will be added to allow the performers to move between sections of the tour.
We did not have time to work on our individual performances, so I will aim to work on physicals such as movement and costume, and also create more of a back story before the next class.
For the 2nd half of the day, we ended up in the dance studio. Sonia took us through various exercises, such as yoga for relaxation, devising and performance techniques.
As we are looking at strengths and weaknesses, Yoga can be used to test attributes such as flexibility, balance and core strength. I found that I am as flexible as I was at the end of last term and capable of performing full stretches. I was also able to demonstrate my balance and core strength by performing headstands. Yoga is useful for relaxing and destressing. With some music and additional movements, the process moves beyond physicals. I have experience with Yoga and have a routine in place. At this time, I have identified my primary weakness as stamina. This is mainly due to long term fatigue and low calorie diet/high physical intensity. I would also need to look how other things such as my IBS and learn to manage them. I feel I am set up for this part of the program, as I have experience of physical exercise, use for example, regular massage therapy to help with tension and muscular issues, and I am already looking at creating a training program with a PT.
After a good session of Yoga, Sonia introduced us to some additional devising techniques. The first techniques involved the use of space as a group. The first exercise we were instructed to squeeze into a confined space, but act distance. We would try to communicate or interact with each other as if we were hundreds of miles away. The use of vehicles, phones and explosives were the most utilised. The performance was fluid and told a story. We ended in a slow canon, where performers disengaged one by one. The next part of the exercise, we were asked to spread out, but act as if we were in a confined space. This had is challenges, as we needed to be alert and aware of each other's actions. As a team, we worked in sync, reacting to the stimulus of each performer.
The next exercise involved the a technique involving 7 stages of tension.
Exhausted or catatonic. The Jellyfish
Laid back – the “Californian”
Neutral or the “Economic”
Alert or Curious
Suspense or the Reactive (19th century melodrama)
Passionate (opera)
Tragic (end of King Lear)
The performer must reflect the level of tension within the practice. Catatonic is little to no movement and extremely relaxed. Neutral is basically normal energy and movement. Tragic requires the use of bold movements and overreactions. In this class, I found some of the movements more challenging than others. To be fair, I was feeling relaxed during the class, so catatonic was more within my range.
The 2nd part of this exercise involved imagining a situation and reacting using the various scales of tension. The group I was part of performed a routine based around a football match. Football is a good example for this exercise as there are so many highs and lows throughout a game and it can change in a moment. I tried to replicate some reactions that a fan may display during a game. I also tried to react to the other performers actions. I found this exercise challenging, mostly due to being relaxed and also lacking certainty. Due to the difficulties I found with the tension exercise, I would look to explore using these techniques again. It would allow me to refine my movements and more freely flow between different energies. In this time, I feel relaxed or in a good mood, so in order to perform different styles, I need to learn how to tap into different energies on demand.
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