# data[].attributes.headline
Movement & establishing a language of movement in an ensemble

# data[].attributes.subject
Movement & establishing a language of movement in an ensemble

# data[].attributes.attachment_link.title
Movement | Jane Eyre | National Theatre at Home

# data[].attributes.body
Lighting inspiration.

# data[].attributes.headline
Cloth Folding Ritual, 'The Dreaming of the Bones'

# data[].attributes.subject
Cloth Folding Ritual, 'The Dreaming of the Bones'

# data[].attributes.body
When we were talking about the weaving of the story, and the weaving movement of Bluebeard and Ilina, and possibly staging this through a weaving of fabric in some way, it reminded me of the ritual folding of the cloth at the start and end of Yeats' dance play

# data[].attributes.body
The way that Ann and Cyril narrate Bluebeard's and Ilina's movement reminds me of Yeats' 'The Dreaming of the Bones'. This is especially the fact in the dance of the lovers (in this video it starts between 30-35 min)

# data[].attributes.attachment_link.title
W. B. Yeats: The Dreaming of the Bones full production (DancePlayers, 2019)

# data[].attributes.headline
Short clips of Kinevane's 'Underneath' here

# data[].attributes.subject
Short clips of Kinevane's 'Underneath' here

# data[].attributes.attachment_link.title
Pat Kinevane and Jim Culleton on Underneath

# data[].attributes.body
I'm interested here in Kinevane's performance style, his aesthetic choices that focus on the physicality of the body and movements (almost dance-like, at times) to reveal the story. Note also the use of material.

# data[].attributes.attachment_link.title
FISHAMBLE'S UNDERNEATH BY PAT KINEVANE | THE EVERYMAN, CORK | 28 SEP 2022

# data[].attributes.body
For your records

# data[].attributes.headline
Steven Berkoff's performance style in 'Salomé'

# data[].attributes.subject
Steven Berkoff's performance style in 'Salomé'

# data[].attributes.body
I think the ensemble's physicality, their delivery of the text in a poetic way and to the rhythm of an abstract soundtrack is a helpful touchstone for our work.

# data[].attributes.body
This is a scary play, horror brought to the stage. I feel like we could really play up the scary parts of the play to evoke feelings of anxiety within the audience. Artaud's theatre of cruelty is described as 'an assault on the human senses'. Phantom of the Opera was kind of scary, but Bluebeard can be a more menacing character and can make the audience feel like they too are being held captive. This can be achieved by incorporating Artaud's theatre of cruelty.

# data[].attributes.body
I am struggling to find an image or resource to represent this but what really strikes me is the emphasis and reliance on music and rhythm within the text. Although there is mention and reference to other noise such as wind and rain and even though “all day it falls straight down and down”, it is stressed that the characters can not hear it. They place a big emphasis on the silence that is all around them and the use and importance of music and rhythm grows as it is used to build and heighten the atmosphere and events of the text, for example it is stated quite plainly within the text that the music is “expressing trouble, mostly between these speeches”.

# data[].attributes.body
Using long pieces of fabric may be interesting. Especially when we are thinking about the weaving of the myth and the movement of bluebeard and Ilina on stage

# data[].attributes.body
This image is similar to the other in theme. The bride might be even clearer. I really like how the 7 wives (including Ilina) represent the repeating cycle, which we also talked about in relation to myth

# data[].attributes.body
I love this picture as it evokes the image of the bride. It also plays with the idea of multiplicity that we had talked about.

# data[].attributes.body
In keeping with the shadow theatre idea, I found an image which accurately demonstrates the possibilities that come from using it in a production. In shadow theatre utilizing the space correctly is key, in this context, the 'alive' characters are onstage and the door is a shape created by the use of light and space, the 6 wives appear from behind the door, we never see their faces, but see their figures. This creates a visual distinction. It also enforces the power dynamics within the play, in which the 'shadows' are not of this world, and when the door is unlocked they gain their power to defeat Bluebeard. They are of another dimension. With shadow theatre their image can be large or small. This dramatic tool opens a world of possibilities with using the space to portray the story.

Paula

# data[].attributes.body
I chose this as a consideration for the exploration of shadow theatre to portray the deceased wives.

# data[].attributes.body
An intensity of mixed frequencies giving power to life and death as well as to the spatial dynamics. Constant push pull or give and take feel.

# data[].attributes.body
Purely based on the power dynamic between the women and Bluebeard and an authoritative figure

# data[].attributes.body
Here's a playlist of songs that I feel fit the story or the vibe of the play
https://youtube.com/playlist?list=PLgkH1tzuWZBw1fzK_ni6Kg-pXTEsdI7MQ