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Show Night

Practise, practise, practise

 

 

 

 

 

 

 

 

 

 

 

 

Got you

And what a great night it was.  Not only a video presentation of the play we devised but also a photographic exhibition from the students who did the photography course with Aishling Muller. We had a small but enthusiastic audience, and a member of the LMETB was there to witness the work. We are beholden to them for heavily funding the six week course. I’m pleased to say that the lady, Shauna, was mightily impressed with both displays and truly appreciated the work that all the students and the tutors had put into it. So, we gave ourselves a round of applause before the sandwiches and cake.

 

I’ve included pictures to this blog that I took of the photographic exhibits.

We did several exercises before rehearsing the play. I like to do them so that I can get my creative head on and to be fully aware of the space and its purpose.

For a number of years, it’s been a popular idea that our ‘left’ brain and our ‘right’ brain work separately by different methods. The ‘left’ brain purportedly is the logical and analytic side of us, and the ‘right’ brain is the intuitive and creative side. It is a common belief that as individuals we are dominated by one side or the other. In fact, this specious perception has been changing.

My understanding is that we may have a preference for thinking one way or the oth100 Brigid and Christopheer but that both halves of the brain work in conjunction, supporting each other to achieve what we set out to do.

However, I still use the drama games and exercises to heighten the awareness of what will happen and the purpose for being there. They are great resources for focusing, for encouraging co-operation, for team building and for demonstrating trust.

Yes. I do use trust exercises but I don’t ask the performers to fall back and trust someone to catch them. Not at this early stage in a performance relationship. Mine are simple.  Two students work together. One closes their eyes and the other guides them around the space. There are a number of ways of doing that: the leader can guide the ‘blind’ person through sound; they can hold onto 100 Born to dancean arm and a shoulder and guide silently; the leader can ‘hop’ as it progresses so that both parties rely on the other. Of course, obstacles can be put into the space but for our purpose the aim was to avoid bumping into anyone else.

 

 

 

 

Mary: Born to Dance

Our play, The Ensorcelled Carnival, was a multi genre piece. It began with a contemporar100 Don't mess with usy dance, the performers moved from a side room into the auditorium and around to the other side then going onto the stage. All this was performed to the riveting tune of West End Blues by Louis Armstrong. It’s on YouTube (where else) https://www.youtube.com/watch?v=W232OsTAMo8 if you want to listen while you read this blog. I don’t have any shots of us performing the opening dance so you’ll just have to use your imagination.

Other elements of the play including mime, masks; film noir; music – from the film no ir saxophone to the fairground organ carousel; dialogue, dance, physical theatre, clowning, comedy and dance.

Don’t Mess with Us

The performers were excellent; the audience generous; the LMETB appreciative; the organisers outstanding; the photographer focused; and the supper wasn’t half bad either.

 

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