Inspiration and Feedback

 Blog 7: Inspiration and Feedback

When creating choreography, I feel it's always important to look for inspiration from other practitioners. For our piece, I felt particularly inspired by Crystal Pite's 'Betroffenheit'. The piece is a deep and meaningful one about trauma but includes quirky and abstract methods such as fun and exciting costumes, something you wouldn't expect to see in a piece like this. (Betroffenheit - Kidd Pivot, 2021) We sourced Pite for inspiration within the section of our elevator scene. Our stimulus is similar to Pite's as it is about a traumatic event and is very sincere and deep so found that her methods would work well in our piece. Within the elevator scene, we decided to use quirky 'elevator music' which is sometimes used and usually is something upbeat. We decided to add a movement that has no technical ability and could be seen more as a 'silly' movement. This is to add a lighthearted and comedic charm to this section, in quite a contrast to the stimulus. I feel that the quirky and abstractness changed the dynamic of our choreography and highlighted how significant the impact 9/11 has had on the world.
Betroffenheit - Electric Company Theatre
(Betroffenheit - Electric Company Theatre, 2021)

I believe we were successful by using this source of inspiration as it allowed us to think of the everyday scenario of getting a lift to work in a less heavy-hearted and serious manner. In real life, this action would be taken lightly so I like that we have incorporated this into our choreography. The feedback given for this included keeping the movement slightly toned down and exaggerating it less. I agree with the feedback as whenever I have been in a lift, although sometimes I want to do quirky movements I've never actually carried this out so doing it less intense means that we are portraying the way the music makes me want to dance. This helped us to enhance our choreography as it made it more realistic and accurate. 

The next steps within the piece include refinement within transitions between sections as this is an area we have not yet visited. Without this, the choreography is quite bitty and doesn't flow which feels rather unnatural. We need to find ways and techniques to integrate each section and intercross the motifs behind them. We could do this by learning a count of 8 from the section before or after and adapting it so that the person can travel on/off stage effectively. This way, transitions will be seemless. 

Bibliography:
Kidd Pivot. 2021. Betroffenheit - Kidd Pivot. [online] Available at: <https://kiddpivot.org/works/betroffenheit/> [Accessed 13 December 2021].

Electric Company Theatre. 2021. Betroffenheit - Electric Company Theatre. [online] Available at: <https://www.electriccompanytheatre.com/show/betroffenheit/> [Accessed 13 December 2021].


Comments

Post a Comment

Popular posts from this blog

Motif Development

  Blog 5: Motif development Due to still being absent, I have decided to work productively from home and continue my progression with my solo. When reflecting I had decided that the beginning of my choreography didn’t feel fitting, and I wanted to add something before setting the tone. My group has informed me that they have been working on a pedestrian section that comes before my solo in the structure of our choreography. This is used to set the scene and show Borders and others heading through New York City to the World Trade Centre. I thought I could continue this to make the transition more seamless. I decided to add in some pedestrian movement of my character arriving at her desk and beginning work. When the implosion happens, I decided to switch my movement into slow motion to link with the phrase already created. With trial and error, I made this work and feel I have achieved more fluidity between sections. A benefit of working from home whilst in this creative process is that
Read more

Composition and Structure

Blog 6: Composition and Structure The structure of our choreography is significant to our piece as it needs to tell the correct story in conjunction with the events of 9/11. If we do this incorrect then it wouldn’t make any sense and the objective of our piece would be wrong. To begin with, all 4 of us partake in a pedestrian section which the purpose for this is to show Borders, along with other workers, heading through New York City to their office in the World Trade Centre. We utilised the iconic Subway to set the scene in New York, so it is more obvious to the audience.    This then leads into my solo which is showing Borders at the time of the catastrophe. This is a deep piece that needs to have an impact to show the audience the intensity of the situation. I need to embody the emotions that Borders would’ve felt at the time and correctly use this in my choreography. I will be using many techniques to portray this, for example, repetition but building up more force every time I re
Read more

Lost in Translation

Image
Blog 2: Lost in Translation   The first task given by our tutor was quite an interesting one. We got into small groups and lined up, one person facing the front and the rest facing the back. The person at the front was given a word and thirty seconds to produce a count of eight before the person behind them turned around and they had to show it to them. We were only given a short amount of time to learn the choreography before the next person would turn around and you would then have to teach it to them. We repeated this process till everyone knew the original persons choreography. Then the first and last person would stand next to each other and perform the phrase, this was interesting to see how it had been slightly changed and interpreted along the line. We continued this process till everyone had picked a word and had gone through the process. The words my group were given include, cold, spikey, sticky and crunchy. I like how this method meant that another persons choreography was
Read more