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An extra aspect that came later in the devising process was the use of a camera and projector overlapping each other to create the effect of depth in the staging, as if there are more than five characters on stage. It also provided focus for the spectator when we wanted to present more sombre undertones such as in the 'Get up 'N' Move' sequence when Lucy was still and sat in her chair. Additionally it introduced the sequences but in a way that linked directly to the stage space, rather than projecting the sequence name the characters included it themselves, making it part of the performance rather than an addition.

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An interview with Bryony Kimmings on changing perceptions of depression as witnessed through her husbands experience of depression.

https://www.youtube.com/watch?v=mmuBRJnysbM

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Callery, D. (2001). Through The Body: A Practical Guide To Physical Theatre. London: Routledge

DV8 (2004) Cost of Living. Avaliable at: https://www.dv8.co.uk/projects/the-cost-of-living--film/publicity-release (Accessed: 29th March 2019)

Freshwater, H. (2007). Physical Theatre: Complicite and the Question of Authority. A Concise Companion to Contemporary British and Irish Drama, pp.171-299.

Kimmings, B. (2015). Fake It Till You Make It. Available at: https://www.youtube.com/watch?v=mmuBRJnysbM (Accessed: 20th March 2019)

Kimmings, B. (2018). I'm A Phoenix, Bitch. Available at: https://www.youtube.com/watch?v=_beG9RyLpRE (Accessed: 20th March 2019)

Landow, M.V., (2006). Stress and mental health of college students. New York: Nova Publishers.

Lecoq, J. (2014). The Moving Body: Teaching Creative Theatre. London: Bloomsbury Methuen Drama.

Lee, R. (2010) Behind The Mirror: A Butoh Manual For Students. Available at: http://subbody.net/14pdf/BUTOH_MANUAL_FOR_SelfSTUDY.pdf (Accessed: 22 April 2019)

McBurney, S. (1994). ‘The Celebration of Lying, an Interview With Simon McBurney’, in Tushingham, T. (Ed) Food For The Soul. London: Methuen.

Rhum and Clay (2018) Testosterone. Available at: http://www.rhumandclay.com/testosterone (Accessed: 22nd April 2019)

Sanchez-Colberg, A. (1996). Altered states and subliminal spaces: Charting the road towards a physical theatre. Performance Research, 1(2), pp.40-56.

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To which end, the opening sequence 'distraction' was inspired by DV8's Cost of Living (2004) which used robotic timed movements to show conformity, the technique was very effective, the synchrony being pleasing to watch and had a great antithesis in a character doing the opposite to the rest, explaining injustice in being treated the same. This was dissimilar to our sequence which uses synchronised movement that builds up to become more exaggerated, the climax being studying that looks similar to synchronised swimming. Interestingly while devising this sequence the use of space was played with. The end result being that being closer together in the space was much more effective and presented a more powerful unanimous image to the audience.

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A natural non-verbal way of presenting monotony to the spectator was in using synchronised movement, neutral face and transparent eyes, which though the latter are techniques used to in Butoh to "increase body perception" (Lee, 2010. p192) they also demonstrated a lack of emotion in facial expression something synonymous with study. But most significantly the spectator who is accustomed to reading emotion from the face could not, the effect being that the spectator had to read intention through motion. The motion being synchronised which in turn was comic due to the effect of movement changing from subtle to exaggerated.

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When thinking about the setting, Pierson, what was striking was that the variety of people in the space was what made the setting, without them it was void and characterless. The characters within it gave it dynamic life often fraught, distractable or sleeping it seemed obvious to use clowning to emphasise the characters and the struggles of meeting the deadline. The use of clowning also referring back to the idea of work stress very well as stress can make someone feel vulnerable, and this is a major component of clowning, Lecoq suggesting the clown must be "stripped bare for all to see" (Lecoq, 2014. p154).

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Strain is a large part of work stress and though cannot be fully distinguished between the other themes, character and monotony, the focus of strain was quite literally in leans, holds and lifts. The requirement of effort to produce these could then represent strain as a spectrum, ease being shown by less strain and higher effort being increasing strain. Strain can easily be seen in the sequences ‘the crash’ and the latter half of 'Caffeine'

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Physical theatre is a complex term to define, as Callery suggests, taken literally one could see “all theatre as having physical elements”(Callery, 2001. p4) . However, physical theatre can be discerned by being “body-focused” (Freshwater, 2007. p1) and this can be seen both in terms of final performance and creating performance. In terms of the end result of performance physical theatre focuses on "...the unfolding of narrative through physicalized events which regulates verbal narrative..." (Sanchez-Colberg, 1996. p21) this further distinguishes physical theatre from other types of theatre in suggesting how a physical narrative controls aspects that are dominant in most theatre forms such as speech. Moreover, how work is created in some theorist’s eyes also defines physical theatre with some suggesting "…creation occurs through the body rather than the mind..." (Callery, 2001. p4) furthering what Sanchez-Colberg states by adding that the body is fundamental to the process which creates a physicalised narrative. Drawing from this, physical theatre can be broadly defined as a process of creation through the body whereby a performance narrative is formed exemplifying the role of the body, which in turn regulates functions such as speech.

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No lengthy amount of study can be done without caffeine and without talking about coffee habits the group exemplified a connecting experience of coffee through sounds and motions, a coin slot, a nozzel, etc. The coffee machine was in totum a group of people that did not resemble what it functioned, yet it worked, when shown to the rest of the group, it was found to be funny, the movement and sound of the individual components brought the idea to life. To an extent this is synonymous with the idea that the "performer and audience create the piece together" (McBurney, 1994, p23) the link of shared experience in the audience and the performer meant the section worked. In terms of clowning this then informed the characters of how to play with the scene, rebounding of the feedback (laughter) of the audience.

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An exercise in weight giving and counter balance in class prompted our sequence around a crash from caffeine. The exercise involved working in pairs to get up using weight and balance to lift yourselves up. What was striking was that in playing with unequal control, one person requiring more effort than the other, the end result appeared comical, the effort being forced entirely on another and there almost being no choice on having that role. For our sequence we played with effort and strain that is one-sided one performer 'crashed' is governed by disequilibrium of motion, continual falling/dropping or stuck in a stiff position. As-well-as being funny the continuous movement lead to changes in tempo, such as a tipping motion starting slowly and building up to fast. Yet most significant to the spectator is the role of trust the 'crashed' performer has, their body weight being controlled by another. This gives energy to the sequence because "When a performer takes a physical risk on stage, tension increases in the spectator, as for example in the circus high-wire act" (Callery, 2001. p27) this tension makes what unfolds engaging to watch .

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https://www.youtube.com/watch?v=HCj32yfhWBY

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Please see attached for our group ideas board

https://padlet.com/uowlgbt/Physical

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Reviewing Testosterone (2018) and how it influenced Pierson

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Reviewing Testosterone (2018) and how it influenced Pierson

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Prevalent in Rhum and Clays production of Testosterone (2018) was how physicality was used to illustrate points.

A key component used to play with physicality was tempo, prominent within the football sequence was how changing between normal and slow pace changed the energy of the scene. Resulting in the audience understanding the comic connotations of the sequence due to pace exaggerating shape and gesture. This was later something that influenced our sequence 'Caffeine' to illustrate its effects in study productivity, with the use of exaggerated slow movement to juxtapose the performers that were caffeine induced.

Also prominent was how effective the use of an anchored setting was to their piece. The setting of a gym illuminated their narrative but also informed the creative process of movement by using props (protein shakers) and gestures (weightlifting and flexing) that were synonymous with the location. Utilising this technique, the piece was centred around the setting of a place of study, Pierson. The setting immediately set up three core themes that characterise the piece; strain, character and monotony.

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Working stimulus: University work stress

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Working stimulus: University work stress

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The work of Bryony Kimmings became an important part of our work, her focus on less spoken about issues, aiming to change perception and use of comedy. Particularly demonstrated in her contemporary work about stress and depression such as Fake it Till You Make it (2015) and I'm A Phoenix, Bitch (2018) that was constructed through personal experience.

With emphasis on the use of personal experience, less talked about issues and comedy it was agreed that a large part of the collaborative creating process would follow a shared experience that is a current issue. This led to the working stimulus of work stress. Work stress being something that everyone has some experience with making it a stimulus that the spectator can connect with. Which is significant as the connection between audience and performer is a core component of physical theatre “Physical theatre accentuates the audiences imaginative involvement and engagement with what is taking place on stage” (Callery, 2001. p5). Most significantly, the stimulus is something that has only recently started to receive attention. With university stress being linked to "anxiety, heavy drinking, depression and a host of other mental health problem" (Landow, 2006. p1) it is of critical concern and requires open discussion.