Week 3 Developing the characters

On Monday we were rehearsing independently. The Washerwomen carried on where they were left and we created another 32 counts of movement material that could possibly be used for our phrase. New movement ideas came from visualising the scene and simply improvisation. We also considered the props such as the sheets and baskets and started moving around with them. At first we tried everything that came to our minds then later we cut out the bits that did not feel right or were not connected to the theme. The lesson was more about getting on terms with the washerwomen and using movement that is relevant to our theme. I had an idea of a freeze frame in the corner. The washerwomen all stand in a cluster and then one by one freeze into a position. This idea was included and I thought it could also change in rhythm repeating the few positions we had.

On Tuesday we focused on characterisation. We all created a motif on washerwomen last week. The motif we did is not related to our new characters that are now called Grumpy, Bashful, Sleepy, Sneezy and Happy all inspired by the seven dwarfs. Each one of us now has a character and mine is bashful, shy, timid. How did I develop my character? First of all, we all changed our motifs on the spot according to our character. I more or less dropped my motif, however, it was still useful to play around with the whole idea of washerwomen to understand where they might be coming from. I first of all, changed my body language and became less upright in my posture. I did not face the audience, I turned myself upstage. I then started to give the audience short glimpses that should convey my nervousness and timidness. Also, I considered relationships to other characters. For example, I should be slightly afraid of other characters, especially grumpy. I also considered reactions in relation to other characters. If sneezy sneases I start shivering and become a little shocked. It is important to stay in your character throughout the performance. I was told to correct my posture as my posture changed and became upright, I should be staying in a slight contraction position holding my abdominals in to show that I am not an open individual. Also, I was told that a shy person would be looking around a lot more, trying not to face any other character.

There is one interesting way of developing movement that we tried in our rehearsals. The opening scene was formed out of a warm up. We all walked around the space and created 8 counts of movement in our heads. Then we continued walking around but one of us performed the motif that was just created in our minds. After that we paired up and learned each other's motif's. Then we grouped into 4's and learned each other motifs. We could also choose the order. Then we showed that sequence to the audience and they related it to the character's in Yerma. Firstly it represented the idea of confusion because we use canon a lot and the movement is fast taking bits from everyones character that makes the audience very confused. We were told that expression should be in each movement in the opening scene. That it is not simply a movement. If we visualise the characters and have more intention/emotion when we dance then it should become more expressive. The audience can then guess what the story we are trying to tell is about. I myself have noticed it too, only a slight change in our movement can make a huge difference. Therefore, I started dancing with more expression in my body and also considered facial expression. As a result, I had to think a lot more when I was dancing.

On Wednesday we choreographed the line section and it was no longer some sort of improvisation. We also repeat this section later on in the performance. We repeat the section yet make it look more like a dance. So instead of gestural movement our movement expands and becomes more moving. The whole piece was made longer using duets and trios and a bit from Yerma's solo. I did a duet with Daniella and the idea is that the old woman helps me overcome my shyness. I used body ripples to show the idea of a ritual and Daniella was the leader in my duet. She initiates the movement.


I thought Martha Graham could be an inspirational choreographer as her choreography is very expressive. Not just the contraction and release but the curved shapes that are soft, welcoming whereas the straight lines are usually strong and intimidating. Martha Graham took the natural movement of the body and theatricalised it. That is widely used in our piece and I will also use Graham's contraction when moving round the space to show the idea of being closed and inwards rather than projecting. Also, Graham was interested in the basic body language. Graham pointed out that the torso was the seat of emotional responses. I thought I will be using my torso more from now on and have shoulders up most of the time. The inhalation and exhalation of the body that could be used to show the nervousness of my character.

The rehearsals this week have gone very well. I have a better idea of what I will be doing as characterising helps to feel more comfortable on the stage. During the next weeks I want to focus on expression and how to integrate expression in my dance. When rehearsing it is important to pick on expression first and then the technique as expression might become lost when not rehearsed properly.

Symbolising the unit