ADULT’S FILM

and here is the adult film. finally online. watch and enjoy 🙂

 

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Third Evening ADULTS

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Knowing that we were filming tomorrow we gathered the previous ideas shared about the film and plots, reminding the participants of the freedom they have to make whatever they liked,and that it was totally their film, and we really wanted to affect them as little as possible. 

We moved fairly quickly into moving and awakening the body, getting warm. Immediately introducing tasks to bring our awareness to the possibilities of expressing different things through the same movement. Thinking about relating the movements to the idea of what a gesture is and does; we explored ways of performing the same movement differently to communicate emotions and stories, feels and dynamics.

Using music at external information for the movement, different pieces were played in short and the participants had to respond to the different pieces immediately and without too much thought. This was played with for a while, and we learned about our reactions to music, and what that meant through dance. This movement workshop and selections of tasks were discussed, and the things we noticed were interesting for all. We then decided to move into the exploration of the film physically.

Ideas were first discussed, then explored through performing and filming in reality. A test. Filmed a test of the dance, and a separate capture of the telling of a few local and past stories. We went for a walk around the estate exploring possible locations for the shooting day. Visiting the places evoked another wave of storytelling. Beautiful to scary memories connected to the space popped up and gave us all a deeper insight into each others personal stories.

The roles of the shooting day were given, and the film was developed on set the next day.

 

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Third Day KIDS

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Today we began with an introduction into the world of film. Technically and systematically, we introduced the roles of the professionals who are involved. By asking the kids first, we established the majority of the roles from their suggestions, and clarified in which parts of the process each is involved. We then launched into establishing what equipment we would need. Once this was agreed on, it was time to designate the roles to the kids. We needed a director, through to a sound technician, the actors, costume, set, scriptwriter, assistant director, and more roles too. Each of the kids had a role which be bean working in the realms to create the film. 

Once the roles were established and agreed, we took a moment to remember and confirm the story that we would be working to tell. The teams split and had to communicate between themselves in order to get things done, as every decision had to be approved by the director. This is where they realised exactly how difficult it was to negotiate to a point that they were all happy; Ideally with everything connected and complimented by the other elements. This, I would say, was impossible to achieve with so many kids working together. All with different ideas and personalities, working on the different elements of the same task. Rehearsals were underway. 

The film they would make would be loose and totally made of their ideas and decisions. After all it was them creating the entire film, every aspect: we would not make decisions for them, but remind the to communicate, and negotiate, and the director has the final say. They could tell us what to do, so that we could help them, but we would not tell them what to do. During the creative process, and rehearsals, our technical team of camera operators and sound engineers, were setting up and testing the cameras. Establishing shot set ups, and potential angles and distances for the filming tomorrow.  

As the workshop progressed, the kids were more helpful towards each other, and groups became extremely productive with a couple of moments of collapse. At the end of the session ran a rehearsal at the end of the session with the camera operators and it was a magical carnival of all the elements that had been worked on, but there was not sign of the structure and flow a film needs. 

Before we left the workshop, the kids were asked if they thought they should film what we had just seen. they all raised their arms: ‘No’.

It was time for us to create a structure that the kids could fall into, and use all of what they had explored during the workshops, as we were filming tomorrow!!! 

…..The film that was shot during the rehearsal will be up online to watch very soon….wait for updates on this blog…..

Second Evening ADULTS

The second evening workshop saw a few more participants, and so we extended introductions, and the conversations which emerged moved through personal to shared experiences, and spaces too. Once we had welcomed each other, and delved into some wider stories, we looked at the second half of selected dance film clips, from the 1950’s to today. Noticing where and how dance was shown and filmed, varied a lot over the time period we watched in clips.  In those, we saw in what context dance was used, and when. There were social patterns here, in style and approach, and how dances were captured and what messages were being communicated through the stories they were telling. 

One of the workshop participants was a musical theatre performer in the golden age, in the States. Listening to here stories of how things worked there, and relating it to what we were seeing on screen, and how things developed in the world of dance for film form that point, was great to see from a stage performers perspective. We moved through dance and film genre, and saw how this world moved us each differently, and at points all together too. Memories of other films trickled into the room, of which we weren’t showing, so shared through descriptions (storytelling), to aid our oversight and enhance understanding.

Once we had stimulated our eyes and minds, we moved onto the matted area to start dancing. Soft under our bare soles, we gently explored our bodies through tasks which sent our fingers wide and high, with weight and swing, through water and tingling sensations. All the movement evolved from shifting our weight between our left and right feet at an easy pace. The focus here was to break ideas about form, and to find our own movement, with a task to kindly wake up the joints, and warm the skin and layers in between, listening to Lauren’s guiding descriptions, and the participant’s imaginations.

We explored in a dimly lit room, for inhibition,the idea of movement in response to the descriptions given, adding depth to the purpose of moving, rather than pre-deciding when and how to move.

The evening ended and we reminded the participant to spend time with their thoughts until workshop three, sharing some suggestions between each other, inspiring the possibilities of the final film. Which of course was entirely up to them.

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this is a documentation of our hand's on dance in film workshops run by dancer Lauren Bridle and artist Jana Koelmel at the Alexandra & Ainsworth Estates in 2013