Some wonderful Movement, both human and computer generated

<p><a href=”http://vimeo.com/114767889″>Pixel – extraits</a> from <a href=”http://vimeo.com/amcb”>Adrien M / Claire B</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

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What does a Movement Director do? Part 3 …. The Workshop

What does a Movement Director do?

Part 3 …. The Workshop

So what would I be doing?

Facilitating. With the emphasis on the first bit of the word … making it easy … easy to explore in a safe space. It’s my job to keep an eye on the task and guide the actor through a process, drawing their attention to moments of expressive clarity discovered along the way ….  allowing the actors investigate the connection between the Weird Sisters and the triple-headed moon goddess Hecate, to the point where the three sisters combined are the physical manifestation of the Goddess herself … this could give a conceptual framework on which to construct a simple ritual, bringing each of the sisters on stage for a specific high-stakes purpose. To this end, I’d bring collection of ideas, images, materials and other tools in to the rehearsal space in order to feed the process of the workshop.

The different ages of the Sisters allow for experimentation through words, phrases, actions and qualities of movement based on the terms of Novice, Initiate and Crone, drawing attention to different areas of the body containing breath, weight and intention. This could assist in further developing individual differences between the characters. Bringing a sound-scape of a thunderstorm could provide an environmental atmosphere and illicit physical manifestations within the actors through engaging their imagination, Exploring the different responses each of the characters feel to this environment. Bringing a collection of little bags and bottles with stoppers will avoid the need for uncomfortable miming of imaginary props, and a long wooden staff maybe… to be the focal point for the ‘Power of the Coven of Hecate’.

Then it’s play time for the actors and focused work time for me.

This all being hypothetical, I can’t tell you how it went … But it’s been a fun exercise trying to provide a tiny glimpse into one of the many aspects of what I get to do for a job.

Going back to Stanislavski and his final layer of uncovering a play or role, that of personal creative feelings …. That is the gift the actors bring to the task of communication. I love that bit … It’s what keeps me on my toes and regularly blows my mind.

If you’re still not sure about what a Movement Director does … the truth is, I’m still working that out too. I’ve been asked to do so many varied things in so many styles and situations it makes me smile .. a lot.

I would recommend you go down to your local theatre and watch a play, research something just for the hell of it, and ask some questions … always ask questions.