Hackdolz Version 3.0 – Building Blocks Crooked Path – Self Study – M18PA

This week I’m really happy with the progress that the Hackdolz sequence has made. Watching Marshall Davis Jones’ performance poem ‘Touchscreen‘ really solidified the ‘Glitching’ reference and also from watching back the videos of the previous 2-weeks helped the performers realise actually how little the pace had increased. We also revisited a Pussy Riot track here and drew from that the intensity and aggression required, so that the fast pace and change in gear could be made. Below you can see a progression of the piece (which is still a work in progress) to see how the work has developed.

Moving forward, I’d like play with the performers focus. We will be presenting the piece in the round and therefore the formation that the work is in currently set in will have to be adapted. I also hope that we will be able to progress further down the ‘Crooked Path’ when we introduce the frame into rehearsals. I hope that we can transfer some of the movement onto the frame and that more surprises and doors will open as a result.

I’m conscious of providing a scaffolding for performers to climb and will wait for performers to fully develop and become accustom to the current level of pace, before introducing the faster track ‘overclock’ – By Algorithm which has a higher BPM than the track ‘Riot’ by Dance with the Dead as featured in the last 2 videos. I also realised having focused on this task as part of my self-study that I forgot to place less emphasis on ‘unison’. I feel the performers have worked well to achieve unison in the movements. But I distinctly remember Scott discussing this during the introductory. I recall him saying that an audience is more likely to pick fault at unison, when that becomes the key focus and objective for a piece of movement. Instead he implored us to worry less about this and encourage performers to enjoy the moments that do come together. I will try to carry this forward as rehearsals progress and for when we begin creating as part of the Advanced module.

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To round of this week and to generate further movement material I wanted to run an exercise I have aptly named ctrl-alt-shift I’d wanted to run another exercise that utilised the ‘Building Blocks’ approach. I wanted the exercise to hold relevance with the piece and to some of the other work we had been exploring. I wanted to push further the exercise completed the previous week on imagined futuristic interfaces here and to build on the lifting explored in the same session. The basic idea was to build a string of 12 moves using the idea of controlling, alternating movement and shifting weight. See a short clip below of performers building up their strings of material and exploring the exercise.

Having explored the exercise and built up a string. Each pair, considered their character relationships and played with appropriate attitudes and dynamics. Some excellent material was built up. I feel like we have added more material to play with and incorporate within the show. I feel that a lot of the strings created can be challenged further still. One thing I realise I haven’t incorporated or played with is the use of props within a sequence. I recall asking Chloe and Charlotte to add a book to their created Chair-Duet on the introductory and it having a profound impact. I also feel I could play with scale more in forthcoming rehearsals. See examples of the created work below.

I was particularly impresses with the above sequence. The dynamic of the two characters was captured really well and the performers really considered how the exercise could be played with as their individual characters. In the play. Allen (Joe in the red tracksuit bottoms) one of the central protagonists, is a spokesperson for the giant tech data company ‘Octopus inc’. He is dominated in many scenes by one of the companies directors (Ryan black tracksuit bottoms) This idea of control was particularly well implemented and explored in the sequence.

Kyla (Kayleigh – white top) and Jamie (Luke – red t-shirt) are also very central to the narrative within the play. Kyla wants to befriend computer hacker Jamie to access the darknet so that she can obtain methadone for her drug addict mother. Their friendship is unlikely, endearing and very sweet. Although the sequence would benefit form more flow and less pre-empting of the shifts, the movement has a lovely quality. I feel focus could be interrogated to move this piece forward.

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