flow of the piece

intention behind the piece

what did the choreographer ask us to do

how did we interpret this.

who are we

whats the relationship between us

trust each other

give weight in lift/contact moments

embodiment of the movement.

the emotion behind the movement.

In today's session, we had Jason work with us on our intention. the moment we focused on the most was the mob section and the character section. upon his first time watching, he said we were dancing what we thought a mob looked like, rather than what a mob actually was. he then gave us a task of facing out of the space and thinking about being angry, how this made us fee,. where we feel it in the body. then creating gestures based off of this. However, this felt weird to do and uncomfortable for me and maybe others as well. Due to the first task being unsuccessful, we were then made to do a face off. imagining that we was angry at the person we were facing off against. creating tension and how that felt in our body. This was helpful for me as it gave a reason for why I felt the way I felt, acting like I was actually angry allowed it show I was angry at that person. giving me an intention to build my character.

we then had to do it as a cluster a choose a spot to look on the wall with the intention of being annoyed. straight away Jason was able to notice the difference from seeing it the first time. We then were set on a task to develop actions with the feeling of that anger, annoyance. this was instead of just waving our arms about.

Creating an intention and feeling it internally, instead of trying to just show it externally, has allowed me to create more meaning for my movement to come from. Allowing my movement to meet an intention closer to that of the choreographers.

A piece of feedback I received for my character was what was the meaning behind the point at brad. Up until this point, due to it being such a small move I thought very little about it. Jason then when onto explain that the emotion and intention behind it changes how the point looks. for example, if it was anger behind the point it would looks different to curiosity or pride.

overall this session, helped me to figure out how a movement changes dependent on the emotion behind it.

how to get height

spacial awarness

bearing weight.

fallen material: the start of this was recapping and remembering as a group. once we had remembered the material we remembered the quality of it. the movement is quite slow and focuses on creating contorted forms. Whilst rehearsing, I realised that I struggled with the detail of some of the movements, more specifically what

I was doing with my hands in each moment.

Duet with grace: As part of this independent rehearsal we had to have our duet travel across the stage. To complete this task we had to figure out a way to get off stage as we currently finished still on stage. This included a lot of experimenting with taking weight and leading the other person. this was to make sure we was sticking with the them of guiding and following. Eventually we decided that I would lean across Graces back and she would carry me off stage.

this rehearsal was spent figuring out how we have to move someone whilst travelling through the space, figuring this out was a bit of a struggle as not one person had taken control, meaning too many people were sharing ideas. eventually we were able to figure out an efficient conveyor belt like system to keep the lifted person moving through the space.

however when it came to my turn to be lifted, I said no. this was due to when helping with the lifting, there was a few moment of people leaning to one side and not being secure. I hope with more practice, people will be more comfortable with lifting, and I will feel safe being lifted.

our task for creating this material was to take movements from our solos and use the idea of flocking to create a group that travels across the space.

this section for me is the idea of lucifer leading the other fallen angels. to first create a phrase we chose a move from my solo that we could travel to a new facing in the space. we then selected a move from Danny`s solo to travel us through the space. we then rinsed and repeated this process until we had created enough material to fill the song. this process was effective as we didn`t have to generate any new movement but was able to quickly put together a phrase of movement.

once it was created we refined changing levels and positions in the space. in our next rehearsal we need to play with the speed of the movement.

my chosen character for this piece is the fallen angel/devil. Lucifer Morningstar. previous to this, research into the character was done to prepare to for this task. with the research I created a word bank for my solo this included words like arrogance, pride, chaos, power and strong. looking at these words I realised that this solo would require a lot of characterisation, a skill area which needs more work.

in terms of movement content, the solo uses a lot of travelling to take up space. I felt this was suitable, as in modern depictions of the character within media he has the big personality, egotistical like persona.

I found that I need to work on my characterisation of the solo as well as knowing where to look will help to project the movement.

In this session we were introduced to the idea of the piece. based on the idea of angels. I was given the role of a fallen angel. these are the angels who rejected heaven.

as part of the fallen angel the idea was to create movement that was rigid and sharp. as a group we decided that it felt more suited for the movement to be grounded. to start, we created movement in pairs to create a short phrase. The aim was to create movement then to refine later on. we then learnt each others phrases. once we all knew the material we developed them into a phrase, making sure we stuck the intention of being grounded and rigid.

For this first section, it consisted of pedestrian like movement, as well as incorporating solos, duet and trios. This is the first introduction of everyone in the piece.

for the walking across the stage, I found myself not staying present whilst walking. to improve upon this ,I thought about something on the other side of the stage luring me to its presence. thinking about it like this allows me to stay attentive whilst moving across the space. My third time moving across the space, I had to use movement from my solo. This was easy as my solo travels across the space anyway, however I had to change the speed and quality of it, making it more fluid and slowing it down, to fit the theme of the music.

the duet I created with grace was also used in this section. To do this we had to change our pathing of the duet to travel on the diagonal. this was am easy solution for us to solve as our duet travelled across the space anyway.

I then had to learn the archangel material. due to the quality of the material being different to that of any I had done previously on this piece it meant I wasn't able to learn the material as quickly, so will need further practice on this section of material.

piece together solo and independent rehearsal phrase

The aim of today was to create the call me devil section.

as part of independent rehearsals we had created a group phrase to go in this section. for this section it started with my solo created in previous weeks, but for the music there was a slight introduction. This is the introduction for my character lucifer. this section requires lots of characterisation to show who I am.

I then worked on my solo with other people in the space. the idea of lucifers followers. this meant seeing people in the space whilst avoiding them. A big part of fitting my solo in this section was knowing where to look during. I had to see the audience as well as the people in the space with me. To do this I had to lift my focus and look beyond my own extremities.

the group material created in independent rehearsal needed refining. parts that the choreographer wanted changing included the speed of some movement and not always going to the rhythm of music. To do this we changed the tempo of some movements. however for me, I felt the change of speed wanted me to travel more.

creating ascending and descending section.

This section incorporated the use of the blocks in the space. the idea was to have someone run up on to a block then have someone carry them off the block. due to lack of time in this at the end of the session, we were only able to get the rough skeleton of the movement done. To work on this I believe that we need to take more risks in the running backwards and forwards and the flyers not arrive to early to keep the flow of the movement going. the hesitation could be to lack of trust or the movement being new to the flyers.

as part of the protest material, it included a protest like section. This protest was reminiscent of the mob like section in UDC. The protest used lots of gestural movement, each dancer bringing their own identity to it. this was clear through the use of facial expressions. Examples include showing anger or sadness. the speed of the movement also changed how a dancer emotion was perceived. The faster movement showed more urgency and aggressiveness, whereas the slower movements were more precise, showing that they were calm and to the point.

whilst the unison of the movement wasn't in perfect timing, it could be looked at dancers being individuals and creating their own identity. The mix of all dancers’ individuality gave a realness to the piece creating the intention that the dancers were fighting back for what they believed in. Whilst being in unison could be interpreted as being united against a cause they all believe in, being slightly out of time is more realistic of a mob being frantic and unorganised chaos.

the movement of the section was fast paced, and certain moves were repeated multiple times throughout the section. the use of repetition on a section like this creates a memorable action that the audience recognise, getting the point of trying to send a message across to the audience.

Difference between ensemble work and individual characterisation:

Being part of ensemble creates a group of characters different to that of individual characterisation. For example, the school section created a individual identity for the dancer Alex, whilst the rest acted as an ensemble. the characterisation of each was shown in many different ways. For example, the contrast of the large group ganging up on the individual dancers shows the hierarchy between the characters and their relationship to the individual.

the ensemble in this section also have their own individual characterisation moments throughout the piece as well. The use of ensemble also helps to build relationships between dancers and strengthens their individual characterisation.

the shift from an ensemble to an individual dancer was interesting to watch, to see how it changes depending on the section. the change from ensemble to individual is effected by the story being told in that section. further influenced by music, lighting, costume. being able to find the difference in character in these sections is powerful as it show the range of the dancer as well as the power to get a message across as an individual as well as an ensemble.

what I need to work on over the following weeks:

Characterisation and intention- through rehearsal I have discovered that I tend to go through the motions of the movement rather than performing them, further meaning I am not performing the material properly . To improve on this I need to work on my intention of what I'm doing in those moments.

• To do this I need to create a relationship between me and the dancers in the space.

• understand the difference between characterisation and intention.

• Develop my character in moments, where my character stands out.

• become more confident at seeing the audience.

collaboration- through self directed rehearsals, I have discovered that working in a collaborative manner is something I struggle with. whilst creating in this environment can sometimes seems easy for me, when working with more freedom away from the choreographer it becomes more tricky. To work on this I must:

• find out which style of working I feel most and least comfortable with.

• Practice working collaboratively with a range of different groups sizes

• think about the intention of what the choreographer wants.

  
  

self pride

arrogant

devilish/ mischievous

leader

intimidating

obsessed with his beauty wisdom and strength became self obsessed and corrupted by the sin on pride

the name Satan means adversary, as he became the enemy of god after god threw him to earth.

Todays rehearsal consisted of refining of section 2 and the ascending and descending section.

the first thing we attempted to work on was the timing of the whole unison section. To work on this we clarified that the music worked on a 4-count. figuring this out meant that some of the movement sped up, so we had to change some of the movements to fit the counts.

creating this section also helped me to develop relationship with other dancers in the space. more specifically moments with Emma and Danny. Creating a trio with them and having contrasting relationships Danny being envious, and Emma being in love with the character of lucifer. Understanding the relationships I have with other people helps me to create a character and build a narrative between me and the other people I am performing with.

we also created the last section. In this section I will have a duet moment with Charlotte, who plays the character of Michael, Lucifer's brother.

a charming, charismatic character who is slightly hot headed and impulsive.

slightly self-absorbed only doing stuff for his own benefit.

moves with purpose the notion of somewhere to be but never in a rush. power walk