Considering that our 3rd scratch will be the last we’ll get feedback, I suggest we to stick with what we already have, refining it, polishing it but trying to abstain making big changes. In my view those sections works quite well, just need to make some fine-tuning. Reflecting on feedback I wonder if we were perhaps telling a kind of too literal story during the cabaret section? and thus instead of achieving a strong contrast between the 2, the piece was somehow diminished from the original strong quality we’ve achieved the previous day while rehearsing. Although I love to entertain the idea of staging the piece in one area, it brings doubts for me too. but for different reasons than those mentioned by Claire: I think that it won’t be easy to keep the audience’s attention focus just on one place for 30 –even 20 minutes-; and although it’s not impossible, working with the body require and/or include other elements perhaps may take more time than the available.
Last week each of us started to get some idea about characters –during discussion and rehearsal: Marilyn, orchestra director, immigrant. that allowed me for instance to make different body movements during the 2nd section, movements that I relate to this emergent character of mine. I wonder if would you be willing to extended them to the last section by thinking how may they behave when re-incorporation? in this way they could guide us –not necessarily by making it explicit to the audience but working just as an aid for us, inside our heads.
in terms of transition to the last section, I appreciate the feedback of ‘exchanging languages so they come more as a substance like the soil in the mouth. To be about body not language’ (Rachael). that exchange means we to speak a language that is foreign to us: i.e. the german for spanish; we french for welsh, and so on.
at that point we could draw the audience’s attention somewhere else for instance into a projection on the opposite wall to the cage. having them concentrating on it, it will give us time to come down from the table and to surprise then again when the projection finishes, producing another unexpected situation.
how are we going to surprise them again? William Pope.L’s performances could be a source of inspiration here (Jen’s post). the audience could suddenly find our characters crawling on different directions on the floor; a different character –for the audience’s eyes- transformed or as they are transforming themselves during re-incorporation (into the same society though).
this would bring us back to the ideas of separation, transformation, re-incorporation we’ve agreed as concept: the characters might have produced some kind of change or transformation –during the cage state- but they end up going back into the same social structure than before.
some links where you could read about William performances and to see some pictures of his crawling -some of which may go well with the idea of puppets. see you later, xx
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