At first when devising movement I started to write it down, but found when I came to revisit it I was relying too much on looking at my notebook rather than allowing the movement to come naturally. I felt that this meant it wasn't honest to the character and the performance, so I started to rework it.
These notebook entries show my notes from a workshop creating movement. Click on the image to enlarge.
Initially I wanted to start the piece with the lights coming up on me sat on the bench with my head in the suitcase. After trying this idea out and working on my text I decided that this didn't have the impact I would have intended. I also felt it was starting the piece on a high point and my movement after it, rather than building, was an anti-climax. The humour of this image also wasn't as strong as I wanted it to be.
Peer feedback also helped me in this decision as somebody didn't actually realise my head was in the bag, but thought I was just hiding behind it. After experimenting with some movement to make it more clear I still decided to reject the idea.
Another idea I rejected was that of having lots of objects in the bag that I would take out during the piece. These would relate to the text and to the Moira's story of her past. I also had the idea of using props from various pieces I've made during my time at university, for example an apple from my year 2 solo 'Daisy', a white shoe from 'The Ward', a flower from 'Inter.rupted'.
Notes/details I've kept from this workshop:- Precise placement - particularly where I put the suitcase and how I place it, even if the character changes her mind a lot (indicated by stops/starts, placing and then replacing the suitcase etc.) each of these movements are performed with precision.
- That 'the suitcase is everything' - it represents different things to Moira at different points.
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