Claire Coache worked on getting the performers to develop their individual Frown town characters. We revisited the ‘silly walk’ exercise and each performer needed to decide which body part should be used to lead the rest of their bodies for their own Frown town character. This was layered with the LeCoq’s seven state of tension exercise. Both these exercises enabled the performers to make creative choices and find their own embodied Frown town character. Performers were then asked to add their characterisation to their already created choreography. It is fascinating to see how the different techniques add layer upon layer of detail to the choreography and characters. The choreography was first developed by myself using Laban’s movement theories in mind, yet LeCoq’s techniques have brought a different aspect to the choreography and enriched it. The beauty of collaborating with people who bring different skills and techniques to a performance project!
Creating the shadow puppetry section for the journey between Happy town and Frown town was full of experimentation – experimenting with lighting options, characters and shapes.
A morning with the Hereford College of Arts Music students was spent sharing creative material we have created so far and listening to music that the Music students have created in response to the story so far.
In two separate creative spaces we both created a mountain goat that Pim and Tiddle will meet on their journey of the mountain, which was a delightful realisation…we clearly are all having similar ideas.
Next week we will be working further on Happy Town and we look forward to continue to work on the Shadow puppetry in the rehearsal room together with the Music students.