READING COMPLETED: When reading Pina Bausch by Royd Climenhaga page one starts with “Pina Bausch’s piece Kontakthof (1978) begins with the performers all simply walking downstage. They move in a group, walking in rhythm with a purposeful hip thrust and slouch, reach the edge of the stage and return upstage to move toward the audience again. Then the group gathers, glaring out at us, before they begin coming forward one at a time. Each performer looks out at the audience, then turns and shows us his or her profile, then turns again to show his or her back. They bare their teeth, or pull up a skirt or pant leg to reveal a well-toned leg. The effect is oddly unsettling, a presentation of self as if for sale, calling attention to the engagement of self in the mating ritual to come and of the ground of the theater itself. We have, after all, paid our money to look at these people, to watch them display their wares for the next three-plus hours, and their looks back at the audience make us deeply aware of our own implication in the process” (Climenhaga 2008). When first reading this, it sparked an idea in my head. This kind of piece would work well as a beginning scene of ghosts. I love the idea of the presenting yourself to the audience as although these may look strange when understanding the purpose of why it was done, I loved the idea of baring all for the audience as “We have, after all, paid our money to look at these people, to watch them display their wares for the next three-plus hours” (Climenhaga, 2008).
I also think that the beginning of Kontakthof could work well for a piece like Ghosts as “They move in a group, walking in rhythm with a purposeful hip thrust and slouch, reach the edge of the stage and return upstage to move toward the audience again. Then the group gathers, glaring out at us, before they begin coming forward one at a time” I think this could work well as within Ghosts if we perhaps changed some of the movements as they are all carrying each others secrets (Mrs. Alving is keeping Mr. Alvings secrets from Oswald, Pastor Manders is keeping Mrs. Alvings secrets from Oswald, Mrs. Alving is keeping Regine’s mothers secrets from Regine and so on) So if as a group we all walking in rhythm and with purpose it could highlight that we are all relying on one another not only to keep the rhythm but to keep one another’s secrets and therefore hide one another’s Ghosts from each other.
Climenhaga, R. (2008) Pina Bausch. London: Routledge.
MONDAY: Today we attended a lighting workshop led by Johnathan. This was really fun and informative. We got to view and experiment with different types of lighting such as spotlights and fresnel. This was really useful as it gave everyone an idea of what different lighting options were available for the performance. It was also interesting to see the different ideas from everyone. After each performance feedback was given which is always useful and constructive. This took up the majority of the session but was incredibly useful, especially when you are devising a piece as lighting has a major effect to set both mood and pace.
WEDNESDAY: Today everyone was feeling very inspired and after much discussion about the play and the characters we decided to attempt to create something. This first piece focused on the exchanged between Engstrand and Regine. It was a piece which involved everyone and focused on the different emotions which could be interpreted through some of the lines such as “What do you want”, “You’re dripping wet” and “It’s Gods own rain, my child”. These emotions involved confusion, anger and fear.
Work made – a video of the work we created – obviously in its beginning stages.