永遠在學習中。 謝謝Ray的筆記。 A movement director is a person specialize in movement, has an interest of the body and physicality. A movement director is somebody who creates a kind of movement-scape for sure. The most important job I find for a movement director is in the creation of an ensemble. But I am not talking about a chorus or the ensemble on stage, I am just talking about the company. I think the main job for a movement director are to look after the actors, who is the instrument of carrying the movement, if you like. All needs to embody any movement ideas within them, so looking after them, preparing them has to be done. But the main job is also actually to create an atmosphere where movement working physically is a very natural progression from working with techs. In its most basic terms I think you build the ensemble through the warm-up, through the beginning of the day. The thing that puts everyone to a level plain field , that it creates trust, it creates an openess, it creates ability to work with each other in a way, that takes longer to achieve..if,.. the guarded-ness sometimes just come from sitting around the table. Actors has a lot to take on board and a lot to consider, with their characters, within their world of the play. And you want to support them to bring that physical expressiveness through that work The relationship between the movement director and the director is a very close one. For the movement director it is about understanding what the vision of the director is. So working on Edward II, I worked with Joe Hill Gibbons, who is the director. There is a large group of, we call them, the dogs, we work with how you can somehow express or have in your body a sense of tension and a sense of horror. It is very important difference between it (movement director) and choreographer. A choreographer can choreograph things. And whenever I talk to a new collaborator about working with them, (a movement director?), I am very clear that I am not a choreographer. Choreographer is someone who writes with movement. And essentially that is something seen as a standard lone art form. Choreography could be more about a set sequences, or I mean it is definitely like that for musical theatre of, you know, there is a choreographer often quite rare to have a movement director from a musical theatre. cause, there are set sequences, set numbers, whereas sometimes or often in movement direction there is not so much a set numbers that kind of come and happen and leave. So maybe it is more an overarching arch throughout the whole thing Movemennt language to me is the movement basis from which you are starting the play, for me that could be from Japanese dances to free shakes exercises to the waltz. To invent an movement language is to involve the type of relaxation or strength or a useful weight. You know the movement language. You know, what you are doing with your hands and how your legs are crossed, and what you do with your hair. Thats a movement language. But it can also go into a more psychological play so a movement language can be something that if a play has a lot of tension, and underlying anxiety for instance, you might work with finding out how that might manifest in body. When it is something that is clearly physical, it is clear to see, but I have worked on a production where the movement work with very much part of the beating heart of the word was the two-hander and so the movement work wasnt about creating any sort of movement sequences I would say, but was about forming a vocabulary of how these two men connect with each other. It is observing the world that might be human being, it might be leaf blowing across a bridge, its how three people are sitting in a room, and their relationship to each other, and their relationship with the space around them. it is just looking at the world and seeing it moves, and using that as an inspiration. Im encouraged, I have seen new practices within theatre. And also i would say very much that writers are really writing for movement to be in place. That most of all people dont think about it as a single element, because its not. It is part of a much bigger picture and you have to understand that. I think I would like the audience to know that this is activities that goes on, and it is a bit intangible. its quite hard to hold on to. Could be invisible but it is actually there. And its made a lot of differences to what has happened.
Posted on: Wed, 12 Nov 2014 15:46:09 +0000
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