- Fluent transaction from text and realistic situations to movement and music.
- Love song by Frantic Assembly -story of one couple within two, of two people within 4 actors. ‘That is the story of our beginning. And this is the story of … The end’ Lovesong created by Frantic Assembly, interwines a couple in their 20’s with the same man and woman a lifetime later. Their past and present selves collide in this haunting and beautiful tale of togetherness. All relationships have their ups and downs, the optimism of youth becomes the wisdom of experience. Love is leap of faith. ‘We talked about being able to revisit these moments through memory, about the oldes and younger self being able to inhabit the same space, aching to influence each other but possibly unable to do so. We talked about a young couple interacting with an oled couple. They would be the same couple at different ages. We all agreed, though, that this shoud be a love song no matter how dark it got, no matter how troubled it became. It needed to lift the heart and celebrate the love between the couple’s. Scott GRaham and Stephen Hoggett. It is worth remembering that Lovesong is really only about two characters. We see their younger and older versions existing in the same space. As the oldes characters have their world squeezed to a crisis pint they see their younger selves more and more.
- Pre-show – using the time when audence is gathering to already perform, stage or arrange smth which would get their attention and would open their imagination about what happened before they came in for example. Makes a magic and special aura to the theatre hall/space and to to the visitors.
- Persona and performance – it could help to find new living energy to theatre and rehearsals to bring in something truthful about the actors/performers/surrounding/happening in the society/etc. Using real names could be a good kickstart, or just playing with documentary and fiction. Though it only should be considered as one of many methods and used reasonably and not overwhelmingly.
- Accidental creativity – good ideas might find their way to you just by themselves. BUT you have to give them the opportunity to emerge. It is necessary to find the balance “nothing is more terrifying for us than the notion of turning up in a room and just seeing what happens, but we have also discovered that if the rehearsal process is structured and ordered to the point of being sanitised, then you don’t allow the space for there happy accidents to happen” (pg. 29) So – plan, but do not over-plan!
- They are not trying to define their style and thoughts so they could live an create free, without limits or rules or false expetations
- Two directors – a conflict, different versions, thoughts, ideas and opinions put them on a scale to be proved which weighs more and is worth to be fighting for. Fighting means explaining the reasons asnd views of an idea. Overall – gives a better result.
- Using a video camera to get direct and honest feedback to improvisations and rehearsals to the actors.
Character’s physicality – the way a human being IS and NOT how one ACTS or TALKS or WALKS. Just exists. Finding that is extraordinary and extremely necessary to create a complete performance. It cannot be found just through ‘the walking’ exercise, but start from something much less physically active to connect mind and body, to reunite them all over again every time, all the time, repeatedly.
- If you don’t fail you’ll never learn