Building Blocks – Blog Provocation 5 – M18PA

Even before M18PA I had previously engaged with Frantic’s practical work in the form of a beginners workshop and also from studying many of the outreach and educational resources that the company posts online. What drew me to the work then and probably one of the fundamental reasons as to why I wanted to join and study on this Collaborative Theatre MA – was the accessibility of the work. I have an uncontrollable urge to move, but often feel constrained in the medium of dance. I either feel overloaded with counts and choreography or conscious that my technique is not at the requisite level. However with the exercises that I had experienced in the past such as: Round-By-Through, Chair Duets and Hymm Hands I’d always felt liberated and able to engage with the creation and process of developing meaningful physical work.

What has been most inspiring for me has been, being afforded the opportunity to revisit the above mentioned exercises and many more. Being able to examine the mechanics of these exercises and developing an understanding and appreciation of whats behind processes themselves.

Work created using exercises such as: Round-By-Through, Chair Duets and Hymm Hands is shaped, developed and created using the ‘Building Blocks’ process. Building Blocks is a term coined by Frantic as a method used for building up work, layer-by-layer, brick-by-brick. Significantly, the process empowers creators, by enabling them to break the overall ambition for a sequence into smaller tasks, which could be informed by words, numbers, patterns, body-parts or a specific theme. Each could offer a way of generating a string of material that can then be built on, challenged, developed and embellished as appropriate. Subtle switches to a string of material such as altering pace, focus, location, scale and or music can have an altogether profound impact on the material created.

If an open approach is adopted during the creation of material, surprises will happen, new ideas will follow and break-throughs will be made. This of course requires, trust, patience and a willingness to walk the crooked path and to be vigilant to the walkways that open up as a result of travelling into the unknown.

The other important thing I realised with this process was that it was the individual creators ‘Break-throughs’ and ‘unlocking-moments’ that were the very mortar that builds these ‘Building Blocks’ into something more construct and substantial.

Building blocks allow us to make something “…beyond my imagination, beyond theirs.” (Scott Graham)

Developing an understanding of this process has prompted me to try to develop, apply and explore ‘Building Blocks’ in my educational and directing practice. Read about my progress below.

Darknet – A Journey on the ‘Crooked Path’ M18PA Self-Study

The First Steps ‘Crooked Path’ Part 1 – Darknet – M18PA – Self-Study

The Next Steps ‘Crooked Path’ Part 2 – Darknet – M18PA – Self Study

Tamasha Theatre Company – Self Study – M18PA

Having researched into theatre companies that have made huge steps forward in championing gender-equality in theatre here and here I wanted to shift my focus towards studying companies that actively promote and celebrate cultural diversity on stage.

Like women, many performers from Black, Asian & Minority Ethnic (BAME) backgrounds are still regualrly overlooked and vastly under-represented on-stage in this country. This is an ongoing issue and another problem that needs challenging within the industry. Theatre Companies, Casting Directors and other industry stakeholders must act now, to be more progressive and inclusive, if they really value and want to reflect the cultural diversity that we are blessed with in this country.

It may be a blatantly mainstream example, but Chichester Festival Theatre’s current production of ‘Half a Six Pence‘ has come in for huge criticisms for its lack of diversity amongst its cast. Matthew Hemley, news editor of The Stage Newspaper, recently highlighted the production’s failings and the underlying problem of under-representation of BAME actors in West End productions.

“…in a cast of 26, there is not one non-white face. That, for a new production, is unforgivable.

I tried to raise it with others after the show and, while in agreement, they pointed to productions such as Motown, Memphis and Dreamgirls for proof of diversity.

The problem is, these are shows either about black performers or with black performers written into them. My problem is where race isn’t specified in the roles and an entire cast ends up being white. It smacks to me of casting directors putting performers into roles that match their own image. It’s an unconscious bias that needs to be addressed.”

Matthew Hemley – The Stage –  https://www.thestage.co.uk/opinion/2016/matthew-hemley-camp-cliches-and-all-white-casts-welcome-to-musical-theatre-in-2016/

Further on into this article, Matthew Hemley goes onto echo my above sentiments. That the industry is in real danger of isolating and exiling a diverse audience unless everyone acts collectively to address this imbalance.

One company, who have been a beacon of light in leading the way for championing and celebrating this counties rich cultural and diverse heritage is Tamasha Theatre Company. Formed in 1989 by Director Kristine London-Smith and Actor/Playwright Sudhar Bhuchar the company was created with an objective to develop contemporary work of Asian influence for the British stage.

Since then, it has been responsible for several groundbreaking productions including: a flagship production of East is East in 1996, A Tainted Dawn, which premiered at The Edinburgh International Festival and featured an original score by Nitin Sawhney and the cult verbatim show The Trouble with Asian Men (See image below) The company actively strives to produce new work that celebrates the diversity of our globalised world and work that places emerging and established artists from culturally diverse backgrounds centre-stage.

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Tamasha is a mirror reflecting a nation of continuing change and creativity, of mixings and mergings. British culture needs reminding it has always been global. Tamasha’s stirring, audacious work makes sure the nation never forgets what it is.

Yasmin Alibhai-Brown, cultural commentator –  http://www.tamasha.org.uk/about/

The company has been able to further champion diverse talent through its acclaimed –  Tamasha Developing Artists programme (TDA) The programme affords emerging artists the opportunity to undertake workshops, professional mentoring and to receive on-going professional support. TDA offers bursaries and a platform for artists into professional employment. One of the programs most celebrated alumni is Ishy Din – writer of the play Snookered Coincidently I remember watching this remarkable play at the Oldham Colosseum in 2012, but at the time had no idea who Tamasha were and what the company promoted. I just thought at the time that is was refreshing to see a play which celebrated the countries strong Pakistani community. The writer has been magnanimous in his praise for the company and attributes his early success to the work TDA does in giving emerging artists a voice.

I am a writer and without Tamasha I’d still be a taxi driver. My voice as a northern Asian would be muted and my attempts to open a window on a largely unexplored world would be firmly shut.”

Ishy Din, writer of Snookered.

This, in my opinion, further augments the importance of programs such as TDA. More really needs to be done to activate and engage BAME artists.

Another exciting facet of the company is its outreach work. The company nurtures new talent through its playwrighting courses taught in schools and through empowering educators to work with all students by giving language and cultural context in the classroom the same currency. The companies model aims to build confidence, promote dialogue and cultural understanding, and produce mature, multi-lingual devised performance.

I’ve been really inspired by the work that Tamasha has achieved and for the ideas that the company fights to promote. I value and am proud the cultural diversity that makes up this country and only wish more would be done to offer a wider and more equal representation on stage. Theatre has the capacity to challenge and incite change. But this can only be achieved if the industry looks at itself and makes more progressive and radical change within itself!!!

The Next Steps ‘Crooked Path’ Part 2 – Darknet – M18PA – Self Study

Just over a week ago, I worked with some young actors-in-training to develop a movement vocabulary, which was informed by computer code and programming language. The performers developed their own movements and phrases using a string of code and we developed this into a sequence, which features in the play (See here)

Having developed the material, I felt the next step in exploring the material would be to push the pace of the movement. Even with taking into account, the fact that it had only just been developed, it still felt a little slow. The characters these performers are portraying in the piece are a force to be reckoned with and needed to emit more energy and aggression. I felt the best way to explore this would be to amp up the BPM and to challenge the performers to up the speed.

The performers took on the direction well and committed to the task. Some further movements were generated also (See below)

Although the performers had upped the speed (a little) I still didn’t feel that we had achieved the intensity or ferocity that these characters need to transmit to the audience. Looking back at the video, I feel it may be because the performers are following the melody. All four performers have a very strong dance background and may have too focused on the technical aspects of the movement? I’m still not 100% sure, but still aim on pushing the pace and speed. I have another track, with an increased BPM that I will try to playing with, in the next rehearsal and I also hope to challenge the performers presumptions through pressing them for more input. I realised I may have been falling into the trap of trying to orchestrate things too independently.

One thing that we did start to explore was the idea of ‘Glitching’ I feel we could investigate this more and play with the quality of the movements. A really good example exists in a performance poet video by Marshall Davis Jones ‘Touchscreen’ although his movements are actually fairly slow. There is a certain ‘Glitching’ and digital quality to the way he moves. There is also a real vigour and intent, despite the slow pace and a real contempt for the system, which will be great for the Hackdolz to tap into. I will signpost the performers to this reference to see what we find.

Later on the week we started to explore a lifts and shifts as a group. I felt it would be a natural progression to some of the work we were exploring and would support some of the movement vocabularies that are being built up. It was great to revisit some of the lifts explored in the introductory module M18PA. I used the Frantic lift resource on Vimeo to recap myself and set about sharing these techniques with the group. The group took to the lifts really well and quickly identified the importance of finding the correct amount of pressure and equal effort required in many of the lifts Frantic.

Having looked at: Side Lifts, Wrap Lifts, Clamp Lifts and Crowd Lifts, the group spent time developing their own sequence employing the lifts that were explored (See Below) it was great to see the performers adapting, discovering and playing with the ideas and principles of lifting. This understanding will stand us in good stead for later on in the process and I’m excited to see how they will be able to inform and support other sequences such as the Hackdolz sequence that I have blogged about.

Finally we finished of the week looking at movement inspired by the idea of controlling an interface with your fingertips (Literally) One of the main themes in the play Darknet is advanced technology. The piece really questions where our technological advances will lead us. One of the really challenging things with this production is that we don’t actually have a great deal of technology at our disposal. So as a group we are really pushing ways to demonstrate this dystopian future within performance. After a discussion about the play, one of the performers cited ‘Minority Report’ as a good example of a futuristic world where tech was imagined as incredibly advanced. During the week, I revisited the video and realised he was absolutely right. I was also fascinated by the gestures and commands of the interface that the actor Tom Cruise uses in the clip below.

I wanted to explore how we could built on the vocabulary we had been developing for the play and tasked performers to develop 8 movements inspired and informed by this ‘Minority Report’ Reference. Again the performers responded really well to this and really surprised me with their variations. I was slightly worried that we may end up with movements that were too similar. See a clip below of the performers individually developing and exploring the task.

The exercise threw up lots of interesting questions. What did each move mean? What was the potential for them? Could the movement be a form of control over humans? The performers felt that it would be helpful to develop specific meanings for each gesture. So they could be clear on exactly how they were manipulating the imagined tech. I completely agree, I think to move this on now, a clarity on how what the movements mean and what can do, will help us in fully utilising them in rehearsals.

All Change Please and Tonic Theatre – Blog Provocation 2 – Self Study – M18PA

So, of fthe back of Nicola’s excellent resource recommendation: ‘All Change Please’ I decided to check out Lucy Kerbel, the work of Tonic Theatre and delve deeper into the world of gender-equality (or lack of it) in theatre.

Interestingly, before dedicating some self-study time to this, I was side-tracked by THE INTERNET (It’s a blessing and a curse) and I ended up procrastinating on Facebook. As I scrolled through, I saw an article titled ‘7 Monologue N0-Nos’ Always interested to learn what others have to say about auditions and monologues etc, I clicked on the link and read the article (See link below)

https://www.backstage.com/interview/7-monologue-no-nos/?utm_source=facebook&utm_medium=social&utm_campaign=editorial

Never in my life have I read such utter drivel! Apart from the fact that virtually all of the advice was completely out of touch and inaccurate. I was horrified by the writer’s fifth tip:

Don’t get clever.
“It isn’t always smart to be ‘clever,’ ” Howard says. “A woman who comes in and says, ‘I’m going to go do “Hamlet” ’—well, when are you ever going to do ‘Hamlet’?

This made me so angry! This Howard chap should be ashamed of himself! And in addition to going to see ANY of the Smooth Faced Gentlemen shows that I discussed in my last post, he should also purchase a copy of ‘All change Please’ by Lucy Kerbel. Immediately!

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I am only a few chapters into this book, but I am already inspired by work that Tonic Theatre and Lucy Kerbel has instigated. This book is not an instruction manual on how to generate change, instead it challenges the reader to consider their own individual role within it. It prompts individuals to rally together, to drive in the same direction and to work with each other collaboratively to achieve real visible and meaningful progress.

“…if we are going to achieve proper – and do it in the most joyful, imaginative, thorough and effective way possible – that will require a whole range of brains on this and a whole range of approaches to it”

“Working together on the shared goal of achieving greater gender equality is like collaborating to put the most brilliant production on stage”

Lucy Kerbel – All Change Please

It really is about collaborating! Sharing ideas and engaging with other minds to tackle the problem. In the book Kerbel talks about initiating small actions that can generate big changes. She cites the 2015 introduction of the 5p plastic bag tax as a fascinating example of how a huge cultural shift can take effect. Although, far removed from the issue of gender equality in many ways. The conscious shift that charge had on an everyday and  an unquestioned ritual, is exactly the kind of shift that needs to be put in the head of those involved in the collaborative process of theatre-making. What long-term impacts will there be if I continue to disengage with something that is unethical? What are the benefits of engaging with this change? How does this make me feel? etc

Some of the interesting small actions that Lucy Kerbel and Tonic Theatre have taken, have included: publishing a book that celebrates work by accomplished female artists that extends beyond the obvious ‘100 Great Plays for Women’ is an index of work that provides a cabal of exciting work to theatres and theatre-makers that have traditionally used the excuse of having a lack of available material as a reason for not depicting the lives and experiences of women on stage. The company has also championed new writing through a program called ‘Platform’ this exciting initiative commissions new work that places women centre stage. Once published the work is disseminated amongst schools, colleges and youth theatres. This small action and shift in practice, gives young women a platform to shine, grow and develop. It also tackles some of the more deep-rooted problems in society and educational that leads young women to believe that there aren’t opportunities for them to be placed at the centre of drama.

Rather than simply staging productions that champion equality, the company focuses more on working with big players in the industry such as: The National, Southwark Playhouse and The Tricycle (To name a few) to coach them towards implementing better practices and strategies with the issue. In the six years since the company has formed, these small actions have ALL contributed towards big changes in the industry and whilst, by their own omission, that there is still much work to be done, Tonic Theatre can claim to have made a colossal impact thus far.

As a stakeholder in change, I’m interested in reflecting upon the small changes I can make as a theatre-maker, as an educational practitioner and as a member of society. Again, I am looking forward to collaborating with my peers on the advanced module and reviewing how we can all work together in addressing some of the woeful inadequacies that societies everyday rituals have normalised. I’m also excited to investigate the possibilities of staging a Platform commissioned piece of work at the college I work at in the next academic year!

Connecting – Blog Provocation 4 – M18PA

Been wicked reading about everyones experiences from the introductory module and the self-study task. It’s also been nice to connect with others and that the blogs have developed into an exchange of ideas and thoughts. I’ll try and respond to more new posts over the next 2 weeks, but here are a few thoughts and comments that I have left for others and resources I’ve been able to recommend:

Fiona

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Jess

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Chloe

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The First Steps ‘Crooked Path’ Part 1 – Darknet – M18PA – Self-Study

So, I started my journey down the ‘Crooked Path’ this week, working on a sequence in a piece: Darknet; that I am directing for an undergraduate group.

After an intensive physical warm-up, which included some TABATA (Loving these workouts at the moment) we dived into the work. Each performer was given a line of code (see previous post for examples) They had to decipher this and develop a physical response into 8-counts of movement. The task was left open, so performers could extract and focus on whatever they were drawn to within the line of code: The numbers, verbs, symbols or whatever intrigued them. Below is a short clip that captures some of the performers individual early responses.

The responses were incredibly varied, which built up an incredibly rich palette of movement  for performers to play with. The idea was for all members of the ensemble to undertake this task, but for me to eventually focus in on the 4 girls playing the Hackdolz. What was really interesting within the responses to this exercise was that by taking a step back I could see other potential ideas of exploration for the material generated. This changed my approach and I responded by setting the group off on separate tasks: to share their individual material, combine and develop . One group worked on the Hackdolz sequence, another played with a sequence involving a sadistic game show host from the play ‘Donny D’ and the other was a piece that explored the inner workings of the central protagonist’s head.

The material generated was an excellent starting point. All three sequences have the potential to be developed and explored further. The Hackdolz performers created some particularly interesting movement see below:

Moving forward I want to push the pace of this movement sequence. We ran out of time to really interrogate and challenge presumptions within the material. The Hackdolz to me represent protest and anarchy and I’d like to find an even more confrontational quality to the movement.

One thing I  remembered from the 2-weeks introductory intensive was how Scott built up the BPM gradually for a sequence in Beautiful Burnout. Once the performers had mastered the movement at a certain level of pace and intensity he upped it again until finally the performers were introduced to the track he wanted to use in performance. he described this as providing a ‘staircase’ for performers to climb.

I’ve put together a playlist of tracks that build gradually in terms of BPM. I will slowly introduce performers to increased level of BPM. I’m also keen to look at some Pussy Riot music videos. They are a Russian protest group and I feel that there are definite links and parallels with the Hackdolz characters.

Pussy_Riot
Pussy Riot

Peace out! Will post an update soon.

Darknet – A Journey on the ‘Crooked Path’ M18PA Self-Study

One of my self-study goals is to begin to explore and integrate the ‘Crooked Path’ approach within my work as an artist. In my current role as an educational practitioner, I have been tasked with directing an undergraduate FMP showcase. I’ve selected Rose Lowenstein’s play ‘Darknet’ for this project as I feel it offers this particular group of performers-in-training an excellent platform to share their talents as multi-skilled actors. I’m also highly interested myself as an artist at the impact technology is having on us as a society and what a digitalized future may look like for us all. Darknet addresses both of these themes and is set in an imagined future where currency is void and the public deal in data. Every choice you make, any decision has a direct impact on your personal OctoScore and your ability to secure your future. Tech companies and big businesses rule and the future looks bleak.

There is enormous scope for this piece to be highly stylised and intensely physical. One of the first things that struck me about this play were the notes that preface the play:

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‘Nothing about the play is ‘naturalistic’ I feel in this instance the best way of exploring this and achieving a non-naturalistic world is to explore physicality. I was really inspired at how the ‘otherworldly’ was transmitted in Frantic’s show ‘The Believers’ through stylised physicality informed by the horror film ‘MAMA’ and from working with ‘Strops’ In exploring this plays physicality I’d like to build up a physical vocabulary that performers can draw upon to create the world of the play.

I’ve also asked the designer that I am collaborating with to create a rotating frame that will allow the scenes to ‘jump from one to another’ I’m really looking forward to bringing this into the rehearsal room and exploring the impact that this has on the piece. Below is the first attempt at putting this frame together. The next stage will be to attach casters to the scaffold and to test moving it out.

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Frame – Attempt 1

Conscious of treading the ‘Crooked Path’ and finding ways of fully exploring the terrain of this play with the company. I currently developing the first steps to a movement section for the piece. The section takes place towards the end of the first section of the play and in it, we are introduced to a group of characters called: The Hackdolz. They are a protest group who oppose the work of the tech giants Octopay – The company central to the play. The section is outlined in the stage directions below:

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I’m really interested in the stage direction ‘A stream of impenetrable programming language appears on various screens’ I’ve always found the patterns illustrated in code and programming language really fascinating. It really is like a whole different language and dialect altogether. It’s also captivating to see data in its raw form. This has prompted me to look at examples of coding and programming. I searched online for examples of images and was really grabbed by the below image:

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What really stood out for me was that within all of the jargon, symbols, odd letters and numbers, you can actually pick out distinct words e.g. extend, scroll and switch

I’m really interested as to how these can be utilised and incorporated to inform the movement sequence of The Hackdolz. So I’ve decided to write some lines of code, which I will give the performers playing The Hackdolz in rehearsals to create counts movement from. I’m interested as to how they will interpret this and whether they will draw on the words or the symbols in doing so. This is my first step on the ‘Crooked Path’ and I will post an update on the results from this.

Below is a few of examples of the code I have written to give performers:

<h5>c=‘scroll’ +e, l=q [c] offset (b.over) n=9e9 ;b=d.extend {onAfter :b} (f, this) f=n, s g= {} |b.speed| e=i == left’ : ‘Top , h=e. toLowerCase</h5>

<h5>^strik3 +dAm{a}ge = || (Four4, kd) nv+suspend.over//downupdownupdown//**pause\ 6=dn 1ncr3se {40}%//over//circle’,-+d}}

<h5>cmd.alt.&gt;minus&gt;key.chain’7’.{{screen}} pad.Shei1d{break} forward.back(up)stretch{inven.t} slash -Commandbreaks&gt; User.end.end’d’4||</h5>