Good evening everyone.
Day 4 in the studio making my new work for the company, based on the themes in Priestley’s play An Inspector Calls.
The emphasis today was finding the musicality in the sublime The Lark Ascendingcomposed by British composer Ralph Vaughan Williams. Each duet in Act 2 has varying textures and intentions that we explored through music today. We have taken on the sequencing of the chronological order of events as described by Inspector Goole in the play – the resulting duets are stunning. The dancers have made them their own and are really something most special.
Tomorrow sees the last day for R&D An Inspector Calls, more about that next week.
I hope to shoot some film tomorrow to share with you some little snippets. See you then!
My new work is based on the underlying themes of JB Priestley’s amazingly progressive but classic play An Inspector Calls.
Catrin, Julian and Georgina began their R&D time in the studio with me today discussing the characters, the historical context, the social background and of course the parity with contemporary society that emanates from the play. As a result, soliloquies were made with each dancer transposing these ideas into moment terms – what a talented bunch!
I’m hoping that each day I can share with you our studio time and would welcome your interaction with us – please use the speech bubbles on this page to tell us your thoughts.
Still very early days, but Day 1 was exceptional, please stay with us.
FFIN DANCE presents their brand new work Crib, choreographed by Sue Lewis as a tribute to the late, great PRINCE. As part of this most special evening, the community groups run by the FFIN DANCE FAKTRY will also be showing their work which they have been making since September.
Tickets | £10/£8 concessions, to book call 07854 910926 or 01495 305988, visit Café @ The Beaufort (opening hours below) or arrange tickets with staff during dance classes.
So we’ve just begun week 2 of rehearsals and today has been mostly spent finding a culmination point for Fractal, Sue Lewis’ latest work for the company. While this entailed establishing group unison and duet relationships with generous helpings of canon and counterpoint, we have in fact spent much of rehearsal thus far on our own individual journeys developing solos which slot in to the overall piece. Hopefully this will give you a little bit of insight into how I’ve been finding the process so far…
The nature of working on solos is such that I’ve spent a lot of time this past week in my own head – not least because I’ve got my headphones in to concentrate on responding to the music for my section. This has had both its high and low points – moments when I’ve been on a roll I’ve hardly noticed anyone around and have been able to immerse myself in both the music and my movement (albeit finding ways to pass my iPod between hands and negotiate getting tangled up in my headphones to bring me back to the real world with a bump!)
At other times, particularly at the start of the week, I would have spurs of loneliness or paranoia – seeing the others in the space around me with seemingly reams of movement material would make me question whether I was working quickly enough or producing material and structuring it to meet the demands of the task with enough clarity.
Come Friday, we ran and filmed all of our solos and group sections in order. This enabled us to watch back everything within the context of the (almost) entirety of the piece. Being able to watch film back is an incredibly useful tool to give you an outside eye on the work that you are creating and inhabiting. Oftentimes, there is a distinct difference between what it feels like you are doing (according to your own mind’s eye) and what an onlooker observes.
One of the areas which I earmarked for myself to work on, having looked back at the footage, was the depth, length and fluidity of my legwork down into the ground. This – along with feedback from Sue and the other dancers to delve into a chewing-gum quality of elasticity as I perform the movement, to really locate the trills in the music within my movement language and to think of moving from the middle of back so arm movements don’t become merely gestural – gave me plenty of ideas to go armed back into my own world of solo development this afternoon.
Thankfully now I’m getting to the point where my enjoyment and the challenge of working solo is managing to mostly quash those lonely moments!!
Hello to all FFIN DANCE followers familiar and new!
As I leave the student world and enter the realms of the freelance artist, I must firstly say how excited I am to be taking a step forward into the company. This season will prove to be an exceptionally challenging one as I take on the role of both performer and choreographer.
I’ll be re-constructing my final major piece Stand up Straight, that was originally created at the Trinity Laban Conservatoire of Music and Dance in June 2013. With the help of Artistic Director Sue Lewis and original perfomer Lily Turner, I hope to create something equally as innovative and fresh to witness as an audience member. This piece will be 1 of 3 that forms the triple bill – Still Standing – which will tour in 2014
Stay close for my updates on research and development and the initial strategies that were put into practice in the studio.