Zara's Post - Motionhouse Dance Theatre

This image is phenomenal. The woman is carrying the man. To have seen this years ago, it would have caused an upset and shock. It is not seen as feminine for a woman to carry a man. Yet in this picture there is; she is seen as dominant and strong.



This image shows the contrast of work Motion House do. They don’t just perform in theatre spaces, but outside.


This picture is striking!! Look how there bodies intertwine. The use of close contact, however I do notice that her face and body are facing away from him, suggesting she’s not comfortable and wants to get away. On the other hand the male is clinged on her body tight, trying to get as close to her as possible. The head is also in contact with her body, one of the most heaviest and sensitive part of our body, yet he doesn’t care and places his weight on her.


The post is from Zara who is having trouble logging onto her own assessment blog. In the mean time, here is her material on Motionhouse:

Here are some pictures of Motion House Dance Theatre in action.

They are truly awesome; I went to watch them when studying GCSE Dance and never forgot them. The physical images and movements shown are ones that are still clear in my memory traces now, 6/ 7 years later. I remember a sequence they did with white drapes. The set was simple but effective. The stage was bare with a box like pole and white pieces of materials flowing to the floor. The whole section was performed using the drapes as a means of expression of being unable to escape. If a company has the skills and performance to create a response such as mine, then they are justly worth exploring. So check them out! Here is their website…

http://www.motionhouse.co.uk/

Above are some pictures of their work and if you get a chance to see them I definitely would. If anyone finds any future performances near by, let us know.

Thanks.

Zara

Blog Assessment - Task 3

Deadline: Wednesday, 1^st April 2009, 5 pm

Word Count: 600 words total (200 + 200 + 200 words)

Task:

• There are 3 questions you need to answer as part of this task.

• The questions relate to the ‘R’ and ‘S’ phases of Porto’s development in the RSVP model of devising

• Conduct wider independent reading and use quotes and examples to support your views.

• Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.

Questions:

1. Critically reflect on how the ‘R’ (research/resource) phase of devising has moved onto the ‘S’ (score) phase of devising in the creative journey of Porto.
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)

2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)

3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words

If you have any questions please contact me directly and in good time for the deadline. Looking forward to reading your answers on your own blogs.

Royona

A Response to Dan

Dear All,

We felt it was important to respond to some of the concerns that Dan has raised in his comments to this week's blog for two reasons. Firstly, we wanted to address how he is feeling and provide some constructive solutions and secondly to reassure anyone else who might be feeling similarly. Hence a communal post.

Responding to Dan's thoughts makes us address several things:

1. As 'outside eyes' we are required to ensure a collective ensemble's growth/progression at the same time as balancing this with space for individual characters' growth and progression. There are 39 individual characters to be mindful of and we try to do this the best we can.

Sometimes it becomes hard to anticipate how individuals will respond to tasks/suggestions, just because it is impossible to do so. The tasks we bring prepared for ensemble's development however are crucial for the ensemble's development and cannot be compromised. In such circumstances, it becomes vital for the individual feeling destabilised to use this feeling as part of their character's growth and not be deterred by it. It might even allow a new depth of your character to be revealed through this process.

2. Devising is always a process of compromises. Particularly when not working chronologically, characters develop different layers at different stages and it is a bit like putting the pieces of a jigsaw together for a character to make sense eventually. But this 'sense' may take a while to appear. It takes time and patience.

3. My advice to Dan or anyone in Dan's position is not to do the task being asked of them immediately if it makes them feel unstable as a character. Equally, don't say out loud that it is not right for you. For to verbalise doubt is to confirm your thought and let the brain become more superior to your body/physicality. Allow instead to be neutral and let the others around you carry out the task until you find a new impulse to bring you into the work.

Also sometimes you need to transform/negotiate gestures you have carried out in other sections to reflect how the character develops through each session. All of you are doing this already but maybe this just needed reinforcing. Dan, in the section where you end up hugging the other 3 in a human train, perhaps your physicality needs to reflect your struggle within, through a slight sense of discomfort receiving the hug, but also a relief to have been involved in the action. This should add more depth to your character (not make you have a split personality but make you more complex) as someone who desires contact and affection, but is also scared of it simultaneously.

4. Finally and very importantly, in a devising process timing is everything. Come and speak to us at the end of the session instead of during the flow of it, so we can address your concerns without stopping the ensemble process during the session. During the session carry out point number 3 and see where this takes you.

I hope this helps. Thanks Dan for being honest about your difficulties. Hopefully this will help address others' similar concerns about the process.

Royona & Paul

Inside Porto and its Community - 11th March 2009

Dear All,

Another productive day with significant progression for the ensemble as a whole and for individual characters in particular. Paul and I are impressed with the pace and efficiency with which you work as an ensemble. This enables us to create material quickly and creatively.

The growth of the ensemble was important to establish today and we did this in two ways. The first section allowed real, naturalistic interactions, allowing the community of Porto to meet each other, make friends, and remind themselves of the 'load' they carry in their bags on their journey ahead. The second section allowed a collective response to witnessing one of the character's disturbing relationship with his 'load' and his eventual rescue by another individual.

Questions for you this week then:

1. Discuss how the creation of sub groups led to establishing initial encounters. How did the revelation of the item assist to develop this encounter?

2. If you were part of the 'photo' group, discuss the strategy used to distinguish you from the larger community. How did you use these simple gestures to gradually create a community of your own? What is it about photos that makes your items a little more fragile/vulnerable?

3. Discuss the impact the second ensemble piece will have on the audience. Try to identify the key features that need addressing/cleaning up, to really maintain the power and impact of this new section.

4. What does Blake's character's breakdown and Amy's response to this represent for the community as a whole? Are they working in a vacuum or do their work resonate with the community's issues and concerns?

Royona

Porto Voiceover Text

Below is the text from the voiceover. We thought it might be good for you to read it, take it in and consider its depth to further your characters. Feel free to comment on it.

Have you ever felt the urge to travel?

So strong an urge that it didn’t matter where you went as long as you kept going.

Have you ever felt like you don’t quite fit into your skin anymore?

Like you have outgrown its reach in search of things beyond.

Have you ever felt alone in a crowd?

Wondering what you have in common, if anything, with those around you?

Have you ever felt that the present is no longer where you belong?

That you need to make it your past in order to live the future you desire.