Week 5

Week 5 - 14th to 16th February

We had our first production meeting were we saw the box set design which is to scale and then we saw costume sketches. Seeing the designs of costume was really useful as we could see how the costume would effect movement because of the weight of the fabric, how long the skirt is etc. Also being able to actually picture what the set looks like was so helpful to establish proxemics and how much space we will have to move. And what props there will be to use and how to move around the set, particularly with the rocks/boulders and how we will be sitting on them. we then proceeded to block through the scenes, now considering everything that will be on stage and props that will be available. Nelly passes a lot of props on stage, so it was helpful to know that behind the rock, that I sit on for majority of the play, will have shelves to put all props and have easy access to and I also have a large pocket where I can also have props. The main element that is restricting us in rehearsal is still having script in hand particularly with physical moments, so learning lines is the main priority. I will also be bringing in knitting/crocheting to do on stage as Nelly instead of just sitting there waiting for my next queue I will be doing a task that she would've done.

At the end of scene 4 there is quite a monumental moment between Cathy and Heathcliff and we really start to see this relationship flourish. In the text the progression of their relationship at some points can feel rushed, particularly when they are younger. So an ensemble movement piece was needed to provide more depth and foundation to this relationship, after all it is the main focus of the play. We got into pairs and began devising small movement pieces as Heathcliff and Cathy using various techniques. Tia and I used round by through to create a physical connection between as it's an exercise that has two people constantly connected, representing Cathy and Heathcliff's connection. However, this movement slowly manifested into almost a dance between Tia and I and we would just follow our impulses each time we did this section. This added a playful and youthful nature to our movement making the connection between us as characters more prevalent.

The main exercise we used was the centre pint exercise, and this exercise was the breakthrough in devising this section. The basis of the centre point exercise was in pairs you would move around the point mirroring movement. One by one we added more pairs until all of us where moving around the point. Spatial Awareness is at the crux of this exercise and ensemble connection so everyone doesn't just bump into each other. And to my surprised none of us bumped into each other during the exercise as we were all moving in the same small space. But this is just a an example of how the ensemble connection is starting the form and having an impact on our work.

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