Dear All,
Apologies for the delay in this week's post. Here it is now anyway.
What a truly exciting and enriching session this was! Paul and I felt how valuable it was to have a professional company's contribution to our palette; so much of the material was a re-evaluation or an extension of much of the material we have explored in our own work and yet so much of it was new and refreshing. Particularly valuable was the insight into the creative process of JVC and the importance of 'layering' within choreography and composition. The work of characterisation will be very significant as we prepare to move into our own exploration of Porto.
What is important for all of us to remember is as a company we must explore and establish our own creative process and while this may borrow from others', it would be wrong to assume that our own process will become a complete emulation of another company's processes. Each company has its own needs, its own priorities and it's own vision and the approach it takes reflects all these unique circumstances.
This week we would like you to answer the following questions:
1. What elements of the workshop made you re-evaluate or extend your own experience/understanding of specific skills/techniques already learnt on the module?
2. Discuss what you took away about the working methodology of JVC towards creating material and comment on how this can be used in the making of Porto.
3. Did you find anything difficult about the workshop? If so, reflect on what it was and why you found it difficult. Can you think of ways to overcome it?
4. Discuss the importance of 'layering' as a creative and choreographic strategy.
Looking forward to your responses.
Royona
Bahok, Akram Khan Dance Company
Exploring Liminality
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8 comments:
1.
The workshop allowed me to revisit some of the skills which we had learnt in previous sessions. For instance in the warm up where we had to roll and do the roll down to jump I was able to apply the knowledge which I had from previous sessions. When doing this I found it strange how they told us the same instructions as the ones which were given to us in lecture.
2.
I felt from the session that it is very easy to take something to simple as how you feel and turn it into a physical theatre piece. My initial idea was something I wanted but I did not know what it was I needed. When I was instructed to imagine I was walking on fire it changed the way in which I worked on the material and different ways to portray this. I believe in Porto we will be able to do something similar with a clear objective set but not told to us before hand. This will allow us as a company to create fresh ideas and different ways of working within duo's or groups.
3.
I didn't find anything difficult from the session but I found the warm up very different to what we have been use too. The warm up in my opinion took a large amount of time doing the same things over and over again, however this made me become more involved in the work which we were about to be engaging in. The only way to overcome difficulties is to stick at it, if you found the warm up hard the easiest thing to do is to quit but this is not always the best way forward. Anything which I do in the sessions I try my hardest and even if there is something which I cannot do I try even harder to overcome this.
4.
Layering is quite useful because not only do you get to see how an individual or an ensemble evolves you also get to see the mechanics behind it. When we were being taught the wind movement the work didn’t have any meaning but as soon as we were told imagine it was wind this changed the whole perspective of the group on this which had a positive effect.
1.As I'd attended a catch-up session on Wednesday and then had the morning workshop with JVC, my mind hasn't really been focussed on anything other than this module and my contribution to Porto. The workshop made me want to improve physically and when I took a two-minute breather and saw what was going on, made me realise yet again how things can look one way but feel another. This made me think a little about the threshold we'd discussed. When we saw Yesterday, the flag scene looked tremendously difficult physically, but we did that scene! I revisited certain techniques that our bodies already learnt or had practised but found that the little tricks we were taught, such as bending knees when dropping and watching out for joints, made physical work much more accessible and less strenuous. I'm definitely keeping those little tricks!
2. From the workshop, I think the concept of layering definitely helped me with my understanding of my performance skills. Being told to laugh but try to stop laughing or make it seem as if I weren't laughing made my physique instantly change and made me realise how easily I could manipulate and strengthen aspects of my body wit h simple techniques. I think seeing Lauren before Son pushed down on her and afterward will be a clear image of how mind can alter the body. With Lauren imagining Son was still there, her performance of her solo became quite eerie, yet fascinating to watch. I'll definitely take away this distancing of my characters emotions to develop their body as we progress with Porto.
3. The workshop was physically challenging purely due to the way we began so physically and kept it up for the bets part of three hours. However I quite liked it! yes it was challenging, yes I have bruises but I learnt a lot and went away feeling like I'd done something. Personally the only thing that I'd have thought could be better would be smaller groups or a bigger room!
4. Discuss the importance of 'layering' as a creative and choreographic strategy. Layering is a concept we'd all do when acting, where we'd know the character Choreographically it makes sense to devise a piece, then edit it encrypting more layers. However with physical theatre layering enables the performers to develop physical movements safely and then add emotion later. With the workshop it proved quite useful to develop characters, situations and to create something quite beautiful. I think it is very important that we refer back to layering during creating Porto to ensure that we don't allow ourselves to simply do what's easy or what we've learnt to do when studying work as actors. Both physically and emotionally layering will assist us as we progress towards our performance.
Although we have worked on our physical palette, our emotions have been allowed to grow at our own pace. This lesson changed this concept as we were asked to work on technique and then build upon our emotions or our characters by changing them completely or expanding them. This has pushed us further, I feel, as I personally have only created a character once before, during previous workshops, and demonstrated my personal emotions to the pieces without developing them further or altering them. The other thing that I feel has been a useful change is the links between each movement that will help us move fluidly and with more control. I’m sure that this would have progressed with the process of Porto but it has defiantly given me more motivation to make my transitions sharper.
The devising strategies used really benefitted the entire group as characters had been created and then altered so the techniques were the same but the attitude altered and was first progressed through facial expressions and sounds. When Tim suggested that we should be able to tell the characters situation from their bodies alone it pushed everyone further to make full use of their bodies and the effects were fantastic. You could tell that Gavin was strong and cocky through his movements as he jumped at a fast pace whilst throwing punches and avoiding other characters reactions.
I found the last section the hardest when we were to build on our characters that we had previously worked on, using the new ideas that Tim and Song had provided. I struggled to use this concept of strength that the character has in the physical work. At first I considered it could’ve been that I had grown attached to the first anxious character but came to realise I had no idea how to use strength as a basis as I have never considered myself to be strong. I didn’t want to use the stereotypes of strength to demonstrate it as the characters are supposed to come across with an emotional connection, at least that is what I thought. After watching other people perform their pieces I could see just how effective the changes were to the development of their character. This has definitely given me something to work on to expand my areas in which a character can explore.
The using of ‘layering’ I found to be useful as you start with the technique and grasp the movements and transitions which then allows you to build on a character or an emotion or a motive. My characters motive was simply to execute a technique she was struggling with. As soon as I had worked out the movements I started to add emotions and reactions to the techniques. This progressed further when Tim and Song gave me a new motive, to compete with Gavin as though it were a dance-off. This gave my character aggression and competitiveness. The eye contact became vital to the characters which wasn’t available in the solo performance. This gave me a good idea how to alter pieces to make them fit in well with a performance which will probably be useful during the devising of Porto.
1. Although the warm up was very different to our normal one, there were some elements which reflected what we had previously done. Simlpe things such as keeping the knees bent etc.. The warm up was much more energetic than ours and it made me realise how awful my stamina is ( in terms of running).
Although i think my stamina in terms of my body strength has increased immensly since the start of the module.
2. I think that simple exercise of creating something so small is a great way to produce and develop narrite, and could be a sucesful skill to use in Porto. My idea was intially to express that I was attempting to do something and something was stopping me. And then the layering completly changed my piece.
3. The only thing I found difficult about the workshop was the running. My stamina when i run is terrible, I last about a minute then i struggle. Concidering my stamina when dancing is quite good i cannot run to save my life. But the workshop was great. Couldn't walk or use any of my back muscles the next day though.
4. As i briefly mentioned before the layering expercise would be very good to use to create material and develop personalities for Porto. The layering completly changed my concept for what I did and through that another, very different character was created.
When we began this module I’m sure we all felt the pressure of wanting to keep up with one another, but because each individual has a different level of stamina it wasn’t quite possible. And this was also evident with the warm up with the JVC, yes it was very different to the warm up that were used to but it slightly corresponded to the movements that we have experienced from previous sessions with Paul and Royona. So even though the warm up’s were the total opposite each of us were able to take a skill that we had learnt previously and use it within the warm up.
The way that both Tim and Sun spoke about building their characters were very interesting to listen to. The fact that Jasmine tells them for example that they are going to play a lawyer, the essence of their individual character isn’t there yet. And for me personally I like that style of working, even though there told what they are deep down they have no idea what they are until they build on top of their character.
The only aspect of the workshop I found difficult was the pace. Since joining University I have realised I have become incredibly lazy and to feel out of breath simply after running around the room made me realise I need to do something about my stamina and my overall fitness, but I believe as the session’s progress and the workload increases that will be possible.
As I have said previous the idea of layering is one that I enjoy, yes it is JVC’s style of choreography but if we take an essence of it we can make it our own. Layering is very important when it comes to creating, because with physical theatre you can’t go in thinking ok im going to be this character, work in this way, and act like this. Yes you have to have a starting point but the process is the most important part because you may come up with an idea run with it and then completely scrap it. So when building your individual characters and relationships with one another layering is crucial.
I noticed that although JVC is a professional company, that we both used the same basis in creating movement. When getting in and out of movement they to used the head to lead the body, it may have been faster than we usually do it in class but it was the same idea, An example of this is when we get in and out of neutral stance. The warm up made me realise how much we under estimate our bodies, even in the most difficult positions are bodies are balanced. An example of this would be when we threw our head forward to turn our body whilst lifting the leg. At first it seemed inevitable that we would fall as the head is the heaviest part of the body, but they reminded us that although this is true, we are balancing the weight by lifting the leg so we shouldn’t fall. This reminded me that restriction is in the mind and not in our bodies, and whatever messages we send from the mind to our body will reflect in our movements. Knowing this, I threw myself at the movement more forgetting about ‘what if’ and the result felt more effective.
The way JVC work in creating performance, has supported my idea of ‘simple things done well.’ I feel that it is important to find a movement and space that is comfortable and true to an individual for movement or performance to be real. If this is done then there is a noticeable attachment between the audience and performer. Theatre often speaks for itself, but as performers we need to be mindful that the main ingredience for performance is the audience as they add meaning to a performance. If these ideas are applied to Porto as a set of rules then it would illuminate movement without thought, and increase impulse, emotion and attachment through movement. Which I believe would lead to a powerful performance.
I didn’t find anything difficult with the workshop overall, but I was thrown when we were asked to create a piece and then they took the space and meaning in which we had created it in. For example my piece was emotional, but they took that element away and asked me to do the same movement flirtatiously. Challenging for me as I’m not very feminine, but I persevered and created a sassy piece. It showed me how the dynamics changed just by the pace or fluidity of movement. It also highlighted that power is within he body rather than the face. To overcome this I think its best to remember that nothing is definite, and maybe to use movement that I have created in different situations as they did.
Performance has to have a cause and add something to the living life, so layering is imperative to the result and success of a performance. Without layering to the process of a performance or movement it means that the creators are limiting their personal potential and possibilities of the given performance. However, this doesn’t mean that ideas should be added where there are gaps, as the gaps may not be intentional but can be effective to the piece. Therefore nothing should be added, changed, erased from the piece unless the space gives consent to. Its about the mind and body being in line with the subject and the liminal space.
[..] “acting like real life, relies on you trusting your body and conscious mind to do most of what has to be done, so that the conscious mind can be focused on the movement”
-Nick Moseley, Acting and Reacting p108
Sorry, it took me so long to find this post, I did not know it was here!
1.The first part of the workshop was actually very different to normal workshops for me. It felt a lot more energetic and resembled a dance lesson. In normal workshops of process, I connect with certain things like my mind and body. The workshop with JVC did not make me re-evaluate as such because it felt separate. The things we have learnt so far have been about connecting with other people or yourself but the first half was not like this for me.
The second half where we began to work on our solos suddenly became very valid. Working by myself was very effective, as I had to think about what I was feeling at that moment and put it into movements. When we expanded on these and gave them characteristics, it was humorous. Then when we built on it again, I could see myself doing these things in our performance. It was great to learn how to give yourself a character and how you can build a piece with such potential from very simple movements.
2. The most valid thing I took away with me was learning how to portray something through movement. I think when creating Porto we will all have a better understanding of characters we will take on, and how movement can show this. I feel now as if I could take simple movements and expand on this to form a character and a feeling.
Learning how to form a character or piece of movement step by step was very useful and would definitely be used when creating Porto.
3. I found the warm up quite physically challenging, but nevertheless I saw it through. This is simply a physical barrier though, nothing more and I enjoyed it. I loved working alone and creating a solo, but it did rather feel more like dance to me than what we have been learning so far.
I also found the end of the workshop very difficult. Although I had no problem entering the circle and being my character, it did not feel like the Process and Performance I have learnt and adapted to. I did not like the use of voice in the circle and found that difficult. I think it did not go like it should have gone because nobody would enter the circle.
It seemed to drag when I was in there and other people, because we were running out of ideas and no one was willing to take our place. Yet in the performances we make at the end of our Process lectures, nobody can wait to enter the space! So, I did feel that part was difficult and I took nothing away from that. Yes, there are ways to overcome it; I would need to get used to being vocal if that was the path we were going down. It left me a bit confused as to if our performance would take on this form, but I hope not.
4. Learning to choreograph was a great thing to take away. The layers were so cleverly put in, but when you look back on how far you came in that short time it is amazing. It shows how productive you can be in very little time.
The first layer was learning simple movements together as a group, which went together in time. Then we broke off on our own and adapted the movements to suit us and how we were feeling. Then we were given a characteristic to add to these movements, which changed the meaning and gave the person life. No longer were they just movements but they had been given a personality. Then we had to work our movements around the characteristic. This changed the whole meaning of my movements, which became a way to solve the characteristic I had been given.
So, for a choreographic strategy in future, this would be a very useful thing to bear in mind, as we all had our own individual solo pieces in probably under an hour!
I found the workshop very refreshing and motivated me to want to extend the knowledge already learnt on the module. In reference to specific skills, I found it interesting how they go about learning a skill, for example sliding on the floor, Tim told us to think of it as a goal post. This was a very clever technique as I will remember how to complete that motion, by having a cue to think of, in psychology that would be called cue-dependent learning. Where you would see something, or visualise something, in order to remember something else. This is something I would like to carry on within the module, when learning new skills to add a visualisation to it, so I can remember skills easier.
Simplicity goes along way. When asked to create our own pieces, it would have been very easy to use every skill we learnt through out the module and in the workshop and thrown it all together to make a piece of performance. Simplicity, context and understanding are the fundamentals. I think if these three things are taken in and used within Porto then, the process, and the character building and performance will be much easier and interesting.
The only thing I found difficult was my breathing due to asthma, which by the end of the warm up; I didn’t think I would be able to finish the workshop, but the focus I had on the workshop and the enjoyment I felt towards it, soon made me forget about this. That was until I got given the task of fast forwarding my routine and doing it twice, I actually thought I was going to have an asthma attack, but luckily I had my inhaler with me, but I must admit, it did affect me for the rest of the workshop, as my chest felt really tight, and needed to sit out. I don’t think I can do anything to overcome it, as it is something uncontrolled. But I just have to maintain it.
Layering is something that will probably become the basis of Porto. It is very important because it allows basic movements to be transferred to something solid and with definition. Layering is something that allows you to explore your own personal creativity, and permits you to go as far as you would like or contain your own choreographic style.
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