Week Five

28.08.08

During this session, we worked quite meticulously on constructing most sections of our performance. We separated into our creative 'groups' and discussed, choreographed, scripted and musically arranged with a more efficient focus than we had worked while making 'Triumphs And Tragedies'.

Anna, who is co-directing the Piaf section with me, brought in some interesting items to stimulate our imagination. She showed me a pair of Middle-Eastern finger symbols and a black and red skirt which she thought she might utilise when portraying her gypsy dancer. Anna and I then digressed into a lengthy discussion about the Piaf section, and we worked and rearranged the characters, actors and scenario several times. Anna suggested that I play the omnipresent 'ring master' in the piece, which is a role that I gladly accepted. We then decided to jettison our idea about the 'freak show' because we wanted to run an accord with Piaf's life more explicitly and also because we wanted to direct a focus. Instead of the former plan, we decided to convey the stories of only a few central characters as opposed to the more epic piece we initially had in mind. We then invited Ashlee, Joanne and Emma into our Piaf section to play a prostitute, an upper-class snob and a beggar respectively. We've also cast Brian to play the priest who secretly runs the prostitution ring while acting as though he is a moral objector, we also cast June to play an older prostitute and Con to play a wino. After our 'casting session', we engaged in a valuable collaboration with Joanne, Ashlee and Emma who assisted Anna and I tighten some looser areas and gave feedback to some of our concepts.

We briefly chatted to Myf about our ideas and she seemed generally enthused but she suggested that we cut a large portion (if not a majority) of our dialogue and turn it into a movement piece. I'm not so keen on this suggestion because I feel that all of the other pieces are movement pieces and the audience might want a break from all of the 'moving'. I am not one for waffling dialogue or over staying my theatrical welcome, and I am confident that when Myf sees how tight and immaculately composed our piece will be: she'll be converted.

This was a most effective class for Anna and I, and I am now seeing the potential for a satisfying performance. I hope that the other groups are also optimistic, because I'm aware of some bickering in other collaborative ensembles.

Ashlee, Olivia, Joanne and Emma showed us their lovely choreography for the 'lovers' section of the performance. Anna and I first saw it without music which I thought was very effective and created an intimacy and non-sensationalism. They later re-performed it with the vocal accompaniment of Anna B's song. I'm not crazy about the latter version, because I thought that the song runs against the grain of the dance. I think the dance piece should be done in silence, and the song should be performed separately.

I got thinking later on about the Piaf section, and I realised how careful we have to be in order to remove any traces of sentimentalism (I hate anything maudlin!!!) and we must ensure to be honest and original- which I believe is the essence of creativity and art. I'm also concerned that certain songs by the City Voices members are quite superfluous and we don't need them for 'Triumphs and Tragedies' so I say "CUT" to anything unnecessary or repetitious.

KISSES!