Sunday, 21 July 2019

Arts Council England Funding received!

I am thrilled to be a recipient of a grant to develop my creative practise from ACE this summer.

Since hearing the news last week I have been busy contacting the artists with whom I want to work this autumn.
Developing a time line for the project, New Territory, is the fist thing to address and it means pulling together the creative professionals and artists I want to work with with all their already busy schedules. It's an exciting challenge to be faced with!
The opportunity ahead, which is being supported by the Arts Council, will allow me to explore how my process of Transformation can inform the creation of original music in theatre. I will be collaborating with composer Laura Jayne Bowler to develop an aural dimension to my practise. I'll also be exploring my work with actors, a set of birds of prey, composer and director mentor Claire van Kampen, and associate director Will Wollen.
This period of funded time over the autumn will allow me the space to work in new ways with no pressure of creating a show. My hope is to lay the ground work for a new long term collaboration with Laura and also to feed the process back into Hawk, ready for festivals and touring in 2020.

Thursday, 6 June 2019

Shakespeare within the Abbey - "What had begun with a brawl ended with a reconciliation as the entire ensemble joined forces to sing: 'Just receive one another, amen.' It made a unifying end to one of the most moving celebrations of Shakespeare I’ve experienced" - Michael Billington

I worked as Movement Director on the wonderful celebration of Shakespeare within the Abbey, that took place in Westminster Abbey in late April at the start of the Globe theatre's summer season.  Claire van Kampen was both director and composer and what took place was a truly exciting and remarkable unfolding of speeches, scenes and sonnets within the Abbey over six performances.
The founding concept comes from Mark Rylance, who led the company of actors, and the producer is Sarah Weatherall. Click here to read Michael Billington's full review for the Guardian.  Below are some production shots taken by Hannah Yates.
Jimena Larraguival as Queen Katherine (Henry VIII)
Jimena Larraguival - Queen Katherine (Henry VIII)
"Have I not strove to love, although I knew
He were mine enemy?" Photo- Hannah Yates

Mark Rylance - Richard III
"Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments" 
Photo- Hannah Yates
This was the third year it took place and the first time that Intermission Youth Theatre, led by Darren Raymond, took part.

Monday, 20 May 2019

Movement Direction on 'Tiger Under the Skin'

Tom Kelsey of New Public has created this one man show and together we've worked on Tiger for it.
See it in June at the Rada Festival.
With panic attacks and paws and other absorbing peculiarities you will not want your eyes or ears to stray from the action!

Wednesday, 1 May 2019

Sunday, 14 April 2019

You will not feel naked...

In The Art Of Acting, Stella Adler talks about the 'armour' the actor has on stage if they commit to their imagination. [Stella Adler, p84]
Developing the muscles of an actor's imaginative faculties goes hand in hand with developing the physical clarity and dexterity of an actor's choices. Access to the imagination gives the actor anchored commitment to a physical desire which then illuminates them in that particular moment. It is this real connection gives the actor's choice vivacity and specificity.
The more the actor permits the imagination to exist with focus, the more something particular of the story and of her desire towards it can be revealed to the audience whilst, at the same time, being protected by the armour of her richly imagined circumstances.
This armour, her raiment, is quite simply that garment which she steps into lucidly when focused on the need to commit to that character in that particular situation . The images which fill her, giving purpose and flesh to the moment/ activity/ beat as it plays out, justify her actions and necessarily incorporate her within them. She becomes clothed in the images. This illuminates her within her journey. The more the actor invests in these images the more they will protect her. She will be using herself fully, being at the service of the images, and yet she will not be left naked but instead be most wonderfully clothed.