AP Performance 1



  • velvet


  • Song in the choreography


  • is lighting necessary if projection is on?
  • light on the performance/ performer on the wall
  • no  light when getting into space


  • plain dress

Set + Props

  • black floor

AP Joan Littlewood

I’ve experimented with Joan Littlewood practises today. I have noticed that her work is very similar to commedia dell’arte. I used my body parts like bottom, legs and nose to follow them in this piece. I also use a lot of looking back and forth to the audience.

This is only an experimentation, it isn’t a ready 2 mins yet:


PROPS I need for this section:

  • blankets
  • pillows
  • alarm clock?

AP Cheek by Jowl

Today I have been experimenting with movement form Cheek by Jowl theatre company. I’ve noticed that my body moves to the rhythm of the soundtrack but also it’s natural. My facial expression are more expressive than in a real life (surreal vs. real)

Here’s a video to show my attempt of getting choreography together:

–> Next phase shown through going around the table

–> Waking up tired to getting excited about the day

–> Surreal and Real


PROPS that I need for this section:

  1. newspaper
  2. cup
  3. kettle
  4. plate with food
  5. towel
  6. basin + water
  7. toothpaste
  8. toothbrush

AP Steve Paxton

Today I have been exploring Steve Paxton’s technique: the material for the spine for my 3rd stage (not wanting to get up) of my Autonomous Performance. I found out that I have to think that every movement comes from the spine. Paxton says, ‘Material for the Spine can be seen as a system for exploring the interior and exterior muscles of the back’  (2017) indeed, I have noticed that each of my movements, either on the ground level or standing up, had some tension within my spine or the spine just let my body be relaxed. Although, my body was relaxed I knew that spine holds my ‘relaxed’ movements. Movements of the shoulders, movements of my arms or legs were always connected and my consciousness was always that I moved with my spine at all times.

Plan for choreography:

  1. lying position
  2. moving with shoulders
  3. to sitting position
  4. standing
  5. dropping
  6. to sitting position
  7. moving with shoulders
  8. reaching out
  9. dropping to lying position

What’s next?

  • Keep free writing
  • explore different stages of your plan
  • find more music for your piece
  • projection for stage 1?

Continue reading “AP Steve Paxton”

AP for Performance

I have finally discovered what I have to do to make my performance interesting for me and the audience. I will use five physical theatres/ companies/ practitioners to create my piece where in each 2mins the audience are going to see those five different physical theatres/ companies/ practitioners. I want to rehearse different routines to give the spectators the feeling of a daily routine of getting out of bed.


2mis for each stage

stage 1 sleeping in bed (inspiration DV8 – Strange Fish)

stage 2 getting up (Joan Littlewood?)

stage 3 not wanting to get up (inspiration Steve Paxton – Material for the Spine)

stage 4 finally getting up (?)

stage 5 dressing up (inspiration Pina Bausch – Luna de Margarita)


The choreographies are going to have Slavic music at the background as I want to find my own identity within this performance as well as my own native language. I am currently free writing short monologues in Polish to match the mood when I get up from the bed.

What next?

  • Start creating the movement
  • Find music
  • Finish your monologues



Accumulation – Trisha Brown. (2017). [online] YouTube. Available at: https://www.youtube.com/watch?v=86I6icDKH3M [Accessed 17 Feb. 2017].

DV8 PHYSICAL THEATRE: 3 Ballets [Arthaus 102093]. (2017). [online] YouTube. Available at: https://www.youtube.com/watch?v=DBdU7S_Bf8c [Accessed 22 Feb. 2017].

Pina Luna de Margarita – YouTube. (2017). [online] Youtube.com. Available at: https://www.youtube.com/results?search_query=pina+luna+de+margarita [Accessed 10 Feb. 2017].

STEVE PAXTON : MATERIAL FOR THE SPINE -DVDrom TRAILER. (2017). [online] YouTube. Available at: https://www.youtube.com/watch?v=8CntWmA1YTw [Accessed 16 Feb. 2017].

Trisha Brown’s Movement Style. (2017). [online] Dance Spirit. Available at: http://www.dancespirit.com/how-to/modern/trisha_browns_movement_style/ [Accessed 17 Feb. 2017].

Yvonne Rainer: Trio A (The Mind Is a Muscle, Part I), 1966. (2017). [online] YouTube. Available at: https://www.youtube.com/watch?v=TDHy_nh2Cno [Accessed 17 Feb. 2017].





AP Feeling Blue

I have explored the colour in my experimentation for my Autonomous performance to see how it affects the mood of my character. I have used the colour blue to identify the sadness within my character.  I used blue sheets, clothes and I scattered them around the performance area (don’t mind the red behind me as it was another performers performance area); I used high platform to experiment with using a shower on stage so the audience is below the performance stage; I used cold lights to create more of the sadness; and I also used the sounds of rain drop to create the environment of being in the shower.

Here is my short experimentation:

However, I’m still thinking of going back to the bed routine as I feel it will be more relevant to more audiences. And also it will be easier for me to recreate a bedroom on stage rather than a shower which in my opinion should work.



Hurley, E. (2010) Theatre and Feeling, London: Palgrave Macmillan

CIRP Observations

I am currently attending English classes for internationals on Tuesday mornings in the town centre in Inverness. I attend them to observe new people who recently moved into Scotland and they want to learn English or have been in Scotland for a while but they are struggling communicating verbally.  David Spriggs stated, “In Scotland we don’t use hands to express ourselves” (Oct 2016), I agree as living in Inverness for almost 9 years I have noticed that I, as a foreign, often use a lot of gestures to explain my thoughts better and Scottish have their hands (mostly) down the sides of their bodies.

I have noticed in the English classes that people do express themselves through gestures often because they cannot find the right words to explain the good, bad, sad, amazing things that happened or might happen. Lecoq stated, “We consider words as living organisms and thus we search for the body of words” (2002: 50), indeed there is 93% of non-verbal communication that takes over the spoken word (Yaffe, 2011)

I, myself, in the observations am interested how much the non-verbal communication actually takes over the spoken word within the internationals. As I also noticed: these are the people who came there to learn the language; they want to speak English so their communication is understood by the Scottish; they are shy and their hand gestures ‘live in between their legs’; they try to understand the secondary language and they get lost in what they hear so they do not answer even with their body language.

To further my research I will contact Angie Morris to meet the ESOL group in Inverness College UHI to see different views and opinions from the new group of international people.



In an observation to David Spriggs from Inverness, October 25 2016

Lecoq, J. (2002) The Moving Body, Methuen: Bloomsbury Publishing Plc.

Yaffe, P. (2011). Ubiquity: The 7% rule. [online] Ubiquity.acm.org. Available at: http://ubiquity.acm.org/article.cfm?id=2043156 [Accessed 1 Nov. 2016].