Over the course of this unit I’ve continued to develop the range and flexibility of my voice and body. The new exercises taught in class have proved helpful in performance. By centring the breath and releasing muscular tensions I can prepare my body for performance. Deeper placement of the breath produces a clearer, unconstrained sound. Panting exercises help me settle into a deeper, more confident tone. Fascia feet massaging I’ve found to be a nice pre-show ritual.
I’ve learned to be conscious of the shape my body is making in space, I’m particularly conscious now of when my shoulders tense up and rise. Kristen Linklater’s visualisation exercises and scanning of the body helps me to find and get rid of tensions, particularly in the spine. …show more content…
Regarding balance exercises I find the freedom of Grotowski balance exercises easier to do than the difficult Suzuki stomps. I’ve found that vocalising into the yoga sequence pinpoints the different resonators throughout the body. The sphinx position surprised me in that I got to explore a deeper resonance than I’ve experienced before. Going up into a higher range I want to improve the gap between my regular voice and falsetto which I can’t bridge …show more content…
While it’s useful in exploring the extremes of a text I find it difficult to reign it back to a more naturalistic level. For the LMA to be successful perhaps it needs to be ingrained in the process from the beginning so it’s unconscious come performance time. To use the developmental rigour of a structure to access a freedom later on. I used the LMA too late in the process for it to work properly.
Movement Piece
In channelling Darth Vader and playing with my socks I strayed too far from the text. While the audience engagement was good the movement piece had a radically different tone to my monologue. I’m happy I went with my initial ideas and didn’t censor gut feelings but I think the text was lost in my interpretation of it. The piece was supposed to look Iago's plan and the gloating way in which he shares it to the audience. I developed the work by taking intriguing imagery and verbs from the text and physicalized them using the terminology of LMA. Some of Shakespeare’s evocative words quickly encouraged a physical response just by how they sounded, ‘enfettered’. In the actual movement, I didn’t vary my tempo or engage with the while space. A lesson to toake away is to be more aware of varying tempo and being less afraid of little, still moments and gestures. The piece felt fragmented by the empty space between
I’ve learned to be conscious of the shape my body is making in space, I’m particularly conscious now of when my shoulders tense up and rise. Kristen Linklater’s visualisation exercises and scanning of the body helps me to find and get rid of tensions, particularly in the spine. …show more content…
Regarding balance exercises I find the freedom of Grotowski balance exercises easier to do than the difficult Suzuki stomps. I’ve found that vocalising into the yoga sequence pinpoints the different resonators throughout the body. The sphinx position surprised me in that I got to explore a deeper resonance than I’ve experienced before. Going up into a higher range I want to improve the gap between my regular voice and falsetto which I can’t bridge …show more content…
While it’s useful in exploring the extremes of a text I find it difficult to reign it back to a more naturalistic level. For the LMA to be successful perhaps it needs to be ingrained in the process from the beginning so it’s unconscious come performance time. To use the developmental rigour of a structure to access a freedom later on. I used the LMA too late in the process for it to work properly.
Movement Piece
In channelling Darth Vader and playing with my socks I strayed too far from the text. While the audience engagement was good the movement piece had a radically different tone to my monologue. I’m happy I went with my initial ideas and didn’t censor gut feelings but I think the text was lost in my interpretation of it. The piece was supposed to look Iago's plan and the gloating way in which he shares it to the audience. I developed the work by taking intriguing imagery and verbs from the text and physicalized them using the terminology of LMA. Some of Shakespeare’s evocative words quickly encouraged a physical response just by how they sounded, ‘enfettered’. In the actual movement, I didn’t vary my tempo or engage with the while space. A lesson to toake away is to be more aware of varying tempo and being less afraid of little, still moments and gestures. The piece felt fragmented by the empty space between