Antigone Feedback (grades and criteria removed)

Strengths

 

• Effective demonstration of understanding of the subject context and wider purpose of the project (Brecht & Artaud research/ National Theatre & Greek theatre research/ reflective posts)
• Good understanding of the project as part of an actor-training programme (rehearsal reflections and self-analysis, use of practitioner theory to underpin ideas)
• Effective engagement with research methods to investigate relevant sources toward the practical application of a piece of theatre and a character (character research and analysis- rehearsal reflections),
• Research used to develop understanding of the project, with some good analysis and explanation of understanding.
• Demonstrated creative research methods, research sources are varied, containing links to articles/ videos/ inclusion of pictures to show wide investigation of a topic.
• Excellent demonstration of artistic interpretation in the process, regarding character, and developing the Ismene role, this is reflected upon throughout the blog.
• Problem solving demonstrated by reaction to unforeseen practical and theoretical challenges in rehearsal, some of these are detailed and evaluated in rehearsal reflections (technical rehearsal reflection/ rehearsal blog posts) and observed in class during rehearsal.
• Excellent commitment and dedication to the process, the cast and the overall production, responsive, focused and active in rehearsals.
• Sufficient demonstration of ideas sharing, demonstrating imagination and creativity in the development of this production (particularly Ismene’s new ending), although developing this further is an area for improvement.
• Effective use of target setting to achieve performance goals throughout the process (one to ones, in depth rehearsal reflections).
• Engaging performance in rehearsal, clarity of character achieved (rehearsal reflections and photo/video evidence), focus, commitment and determination in the creation of character, and emotionally engaging delivery of performance, strong acting skills demonstrated.
• Excellent collaborative skills in the development of a piece of theatre (rehearsal in class, and independently with Ella on the opening Antigone & Ismene scene)
• Written reflections document the entire process, and written work is analytical with plenty of reference to research, own practice and intended project goals and outcomes, although level of depth of critical analysis could be improved.

 

Areas for Development

 

Rosa, during this project you have really come into your own as a truthful and instinctive actor; and shown us that you are a strong performer in both dance and acting, which is fantastic. I’m so glad you have found the confidence to develop these skills, and take the challenge of Ismene on this project. Throughout rehearsals you have demonstrated openness, energy and commitment towards the rehearsal/devising process and your own character development, and worked hard collaboratively to develop your role and the production as a whole. It’s just a shame we haven’t been able to see the final performance. Your written work has improved a great deal towards the end of the project, and you’ve had the time to assess your rehearsal notes, and write your reflections. Both your research and reflections are evaluative, and knowledgeable with good links to practice and reputable sources, and you have provided good explanations of your understanding of this. Going forward I would like you to consider the level of depth you analyse these elements in, and in future projects we can look at ways of developing the level of critical analysis; so you can rigorously investigate a topic/topics and provide detailed and academic discourse on your findings, and how these impact your performance knowledge and development. Well done Rosa.

Ensemble performance

What is ensemble?

Emsemble acting is defined as “an approach to acting that aims for a unified effect achieved by all members of a cast working together on behalf of the play, rather than emphasizing individual performances.”

Greek chorus

 The chorus in Classical Greek drama was a group of actors who described and commented upon the main action of a play with song, dance, and recitation, and was performed in the area now recognised as the Orchestra pit.. The Greek chorus was traditionally made up of about 50 actors at the beginning of the 5^thcentury BC. Playwright Aeschylus brought about the reduction in the size of the chorus. With a smaller more intense group of chorus members , they we’re able to partake a more active role within the narrative of the storytelling, either by embodying a role within the narrative, or by portraying a collective character.

If the chorus was ment to represent a collective character it would be common for all the chorus to wear masks, which would gice the chorus a unity but equally encorage interdependency between the performers. The masks also had other functions in greek theatre, not only did they create emsemble collectives, but also they would exagerate and emphasise the actors features, given that the performances would often take place in open air theatres, this alowed the audience menber further away to see what feeling was being expressed by the chorus.  Masks also concealed the identity of the actor so they were able to appear numerous times within the play without being associated with one specific character. 

The main function of the chorus was to connect the actors to the audience, as well as signpost important elements of the story or to provide a commentary to the audience about a certain characters actions and previous events.

Contemporary ensemble practice

A good example of contemperay ensemble acting would be in the play, “The curious incident of the dog in the night time”. Having a small cast ment that the ensemble had to work togther to fill around thirty roles. Because there was a cross over of actors playing diffrent parts this made for a playful and engaging piece of theatre, as the audience can see actors take on and off different characters. This means that, “as an actor being part of the ensemble means you always feel involved, as you are nearly always on stage.”- said Nicola Walker ( Christophers mother).

As the actors had the change between roles, it means they have to make a quick impression with each of the charters as some only appeare for a few moments. Equally when creating busy public scene the emasble has the work togther to create diversity within the ensemeble, to make it natural and interesting.

In this play the ensemble was very physical, sometimes being chaotic and others times being precise and linear, which created a stylalised and contemperary piece of physical theatre to reflect Chritophers thoughts. We have relationships with everyone we encounter, everything we see. Part of bringing the ensemble to life, making them three-dimensional characters, will be helped by defining those relationships.

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Horton and Ailey features and techniques

The horton technique can be found in a variety of Ailey’s pieces. He uses  open Egyptian arms, the stag positions, lateral Ts, percussive movements, side hip pulls and more, this create for a very indervisual and unquie style which can be recognised.

The dancers are usally long, lean and very strong, because the technique works on the whole dimension of your body. You’re not just working in an upright and balanced position, you learn to be strong and elongated in horizontal positions, turning positions, elevated positions, and controlled movements that move in and out of the floor. This makes for a very agile dancer. Your body’s core is very important in the Horton technique, because you can’t balance on one leg with your body stretched out to the extreme without it.  When you strengthen your core, you lessen the strain on your back, improve your posture, and are better able to reach your fuller potential as a dancer.

Another way in which the Horton technique in inderviual is the freedom to move with in it. The movments are athletic and bold, as if makeing a statment about being free. These movemts are incredablely demanding. Horton builds strength, in terms of physical control and prowess. Physically, what you see in a horton dancer is a long, lean toned torso and sculpted legs. The technique is very leg oriented.

There is also alot of issolation in Horton’s technique, as diffrent body parts can move seerate from others. This gives a sense of musicality, posture, and alignment that’s distinct from any other movement style and technique. 

Revelations

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Revelations by Alvin Ailey explores the places of deepest grief and holiest joy in the soul. Using African-American spirituals, song-sermons, gospel songs and holy blues, he creates an exciting and engaging dance work.

This profetional work has impacted so may people that it has been recreated many times, beloved by each generation. Revelations is dynamic and physically challenging, hitting hard social factors, making an ode to the resilience of human sprit. At time revelations was created America was in the midst of a social transformation. “Alvin was making a statement about African-American cultural experience, saying, ‘Hey, this is who we are, we live here, we were born here,’ ” says Judith Jamison, artistic director emerita of the Alvin Ailey American Dance Theater. “It was a brave action. Civil rights were roaring, and our protest was our performance.”

The dance has had a profound impact. Dancers will perform relevaions many times in there dance caree, and they not only hold the dance and the steps but also the historical weight and relevance that comes with it.

Final Critical report : Acting

1.How did you use the techniques of Stanislavsky, Uta Hagen or Le Coq in each acting piece?

I utilised various techniques in the three pieces I am involved in.

In Vera Vera Vera I used Stanislavsky techniques; there is clearly a strong use of public solitude because the scene plays out as a private encounter between Charlie and Sammy which is not meant for anyone to over hear. I have to use imagination throughout the scene to put myself in Charlie’s position and imagine how she would react to the situation. Given circumstances in the script have helped me to embody Charlie and try to physically bring the scene alive. I also used Uta Hagen techniques; I have used the 9 questions to help me embody the character of Charlie. The questions made me think about what kind of person Charlie is and help me understand the mood of the scene and how she might react. I haven’t taken Le Coq techniques into this piece because it is just a two person scene and not hugely physical.

In Hamlet I have had to strongly take on board the Stanislavsky Magic If to try and project myself into a situation. Because the piece has depth and meaning we used Objectives as a group to project the intention and reach the aims of the piece. I have drawn on Le Coq for this group piece because there is a lot of Complicite type work needed. As an ensemble our togetherness is important. I also thought about the seven levels of tension and I tried to portray the first level of exhaustion as we don’t want to be in the work place.

In Bliss I used the Stanislavsky technique of emotion memory to reminisce about how I felt at a concert which helps me to understand the moral of the scene and so try and be truthful within it. Le Coq techniques are heavily used in this piece such as mime, playfulness and exaggeration. We also change between the levels of tension to give dynamics to the piece.

2. What are the acting and ensemble performance skills you have most developed throughout the rehearsal process and in the performance?

I feel that in the process of creating the whole performance I have improved my skills of working in an ensemble such as Complicite’s togetherness– being in time and sensing when and where others are moving in relation to me. I have learnt about and developed Base Pulse, especially in the Hamlet piece, as it is important that our movements are in time with a particular rhythm. I feel like I have understood more about exaggeration and am now more able to perform in an enlarged way that reads better with an audience.

3. Identify your areas for development and set a target going into term 2 that you would like to achieve in acting.

I am really pleased that I have grown in confidence during this first term with my acting. I have tried new things and feel that I am starting to understand many of the techniques we are using. In term 2 I want to continue on this path of growing my skills, knowledge and confidence through practicing and becoming better at the new things I have learnt. Through practice I think I can improve my use of voice and this will be one of my targets. I would like to see my confidence grow further and I would like to push myself to explore more roles and styles in acting. So, my main 3 targets are; explore more, develop voice, grow my confidence.

Final critical report: dance

1. How did you use the techniques of Horton/Ailey or Limon in each dance piece?

In the first piece we made, “conquest of spaces” we were mainly focusing on the Limone technique. In the piece you can see all the factors of this technique for example in alot of the movments there is spinal succession, creating fluid and endless movments. Equally we incorperated movements with oposition and suspension to create big expressive movments as well as intresting dynamics. The piece is contemporary we work bare foot which was a distictive feature of limones work, he found that is made his dancers more human and genuine meaning deep emotional messages could be portrayed. In the limon technique there is a clear sense of weigh and how that impacts indervisual body parts, and i feel in this piece we really explored that concept as alot of the movments we did as they were very free and expressive.

In our piece called, “Rock-a-my-soul”, influenced by Horton and Ailey technique, we created an up beat number taken from the world famous Alvin Ailey peice “Revelations”. This piece is about finding a glimps of light with in all the hardships of life. In this piece there specifec Ailey movements for example turns with arms in a wine glass shape. Ailey technique is very sharp and each line created, be it the legs or arms is, must be strong with intension, and in this piece we had movemnts where this power was needed to created the dynamics, for example in the very final section when we are all in unison it is even more important that our arm line are the same.

Our third piece called, “Sinner man” was also taken from the dance piece “Revelations” by Alivin Ailey. Again lots of the Ailey techniques come throught in this piece for exampe lateral Ts are repeted through out as well as wine glass arms. This piece has more smaller sections, as groups of dancers cross over creating a dymaic and full piece for the audience. This piece is very physical with lots of turns and leaps which was a frequent style of alvin ailey. He often put these very physical movments in his work because it showed the strength and talent of the body as well as makng the work expressive and exageratted for an audience.

2) What are the main dance performance skill you have developed/pushed throughtout this term to achieve your end performance?

For me I would say that in this term I have mostly been pushed when learning the diffrent dance techniques by the diffrent dance profetionals, as some of the movments are unusual to me, and I was pushed not to just go back the my familiar way of moving. I feel that particularly when we were learning about Alvin Ailey I found this moment the most challenging, as the lateral Ts and some of the arm lines as well as dynamics were new to me as normally am used to moving in a more contemporary fluid way. I enjoyed testing myself in this new style. Eually I feel i have developed my performnace skills as we have done quite a few performances in this first term so i feel i have not only grown in confidence but also developed my skills in how to project out and deliver a good dance piece.

I think for next term I am looking forward to learing new styles and I am also going to try to continue to improve my technique, strength and flexibility. I think I would mainly like to focus on my performnace skills and how to realy perform a dance piece not only with the body but equally in the face and eyes, to make the piece more engaging for the audience.

Progression

After I finish the level 3 performing arts course at Kendal collage I would like to try and peruse the career of a professional dancer. To begin with I am going to audition for various dance conservatoires.

I am particularly interested in the degree course at northern school of contemporary dance given that I am already familiar with the school as I am on CAT scheme there. The course provides the training I hope for and need for the this caree path. Here is some information I have found on the course from the NSCD website.

The BA (Hons) Dance (Contemporary) degree is a course of study specifically designed for the education and training of professional contemporary dance artists, performers, choreographers and artist facilitators. Our students become dance artists with highly tuned specialist knowledge, technical and creative skills, plus experience as a producer and teacher with understanding of project management and dance pedagogy. The range of technical training undertaken during the programme is designed to train the body, whilst developing artistic intelligence and an understanding of movement that enables the dancer to respond to the varied and changing demands of contemporary choreography. Students are encouraged to be curious about the place of contemporary dance within the broader landscape of the professional arts scene. We provide opportunities for students to work in collaboration with other arts organisations and professional settings, and for you to engage with different audiences at different stages of your professional training. Through the programme students embrace a range of industry relevant modes of working, such as dance film, site-specific practice, social responsibility in dance, collective working, as well as a thorough grounding in traditional theatre practice.

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 I am equally intrested in the equilivent course at trinity laban. It will ofer me similar training to Northen School of contemporary dance, However the differnt environment and teachers may mean it could siut me more or less. Here if some information on the course i have gathered from the laban website.

• Alongside daily classes in contemporary dance techniques and classical ballet, creative workshops will help you shape your artistic practice and develop your choreographic voice. You will have numerous opportunities to create your own choreography and perform in your own and others’ dance works. 
• Reflecting on a range of creative processes and investigating movement and dance in its historical, social and cultural contexts will allow you to locate your own practice and to explore areas that interest you.
• As you move through the programme, major performance projects enable you to work with leading dance practitioners (members of the Trinity Laban teaching faculty as well as visiting dance artists) to create and perform a wide range of dance works. The performance projects in the first and third years of the programme involve the creation of new dance works whilst second year students participate in the restaging of historically significant repertoire.
• A substantial independent project is an important element in your third year and you can choose to undertake theoretical or practical research, leading to a written dissertation or the performance of a choreographed work. 
• A degree show at the end of the final year provides a public showcase for work by graduating students.

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In order for me to gain a place on either of these trainig shemes i need to make sure that my physical dance abiliy improves therefore i must keep continuing on all the training im currently doing which is weekly ballet classes, contemperary classes and the CAT sheme. Next year will be my final year on the CAT sheme, and as part of the final training the is an opportunity to take part on a intensive program called tool kit, which is esseniyally mock auditions for these conserituars, when you learn how to best approch and be successful in an audition and well as having an undersatnding of what the panel if looking for in a dancer.

Uta Hagen 9 questions

Who am I?

My character is charlie she is 16. “She is intelligent and bold. Sometimes her views on the world spill out without her being able to control it”- as said in the script. She is very calm and a good listener however when someone annoys her she has no patience for them.

What time is it?

This scene is set at lunch time, of a normal school day. I would say that it is maybe the start of start of summer given that the two characters are sat outside during the break.

Where am I ?

“She sits in her school uniform in an area away from the school at lunch time.” The whole play is set in the north-west of England, near Kent. We assume the the neighbour hood is quite small and there isnt much for young people living there to do.

What surrounds me?

The weather is clear possibly slightly sunny. The landscape is a quite place in town, maybe near a park. There are little people there, apart from Sammy who joins charlie on the bench. There is distant sounds of activity however its is clear that the two characters are ways from this.

What are the given circumstances?

” The events in scene one, three and five occur on the same day in April: those in scene two and four on the same day three months earlier, in January. ” When Sammy enters it is clear that something has angered him however we are unsure what exactly. As the scene progresses we find out that he has had some issues with another student who he is planning on fighting later that day.

What are the relationships?

Sammy and Charlie have been friends for a long time, however now there is a slight suggestion there maybe more in there relationship. They speak about Jamie Jones who Sammy especially has a hate for making him an unknown disliked character. Charlies has course work, a copy of romeo and Juliet, which she is finding hard and confusing making her annoyed.

What do I want?

Presently in the scene charlie wants Sammy not tonight Jamie Jones, as she is worried about him. She also wishes she didn’t have to do course work and is fed up with school. There is a suggestion that she would like more to get closer with Sammy in the future and possibly be more than friends.

What is in my way?

i think for charlie she has hidden emotional barriers, which she needs to over come inorder to move forward. She has a shyness which sometimes mens she stuggles to comunicate how she feels about certain things which she feels passionate about, this can mean she stays quite hidden and beacuse of this does not always get what she really wants.

Wht do i do to get what i want?

The tactics chalie can employ to over come her barriers, is not to fear. she needs to learn to not be afraid to speak up about how she feels about things, this confidence will allow her to be more open and talk to people about what she wants and therefore they ca help her acheve her goals.

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REFLECTION

For me the most important question was number one, “who am i”. I feel this is the most improtant as personally I think an actor needs to have a great understanding of there characters personality and belifts, before they can start potraying a convincing performnace in a scene with diffrent cirumstances. They need to be able to know exactly how their character would react to diffrence stimuli in a scene. Even though I beleve knowing what your character wants and their aims is key when performing, like in question seven, I feel in order to show a true and believable performance you must know exactly who your character is to know truly why they have these particular aims. An actor my find it easy to imitate a character or even emotion however this makes for no depth, so knowing your character very well make for a much better performance as you can more easliy sustain the charactor.

I think for me the easiest question to answer was ,”Where am I”. I think this because firstly we already had an idea of where we were as it was written in the script, “She sits in her school uniform in an area away from the school at lunch time.” But also knowing where you are is a much simpilar concept compared to understading particular relationships or and aims you have in the scene.

I found that the hardest question to answer was ,”What do I do to get what I want?”. I found this question hard because firstly we are only realy familiar with a small section of the whole play so to have a full understanding was hard, but also thinking about how you overcome somthing or what you do to get what you want isnt necessarily a physical thing that an actor can perform, it might be more of an emotional thing which an actor needs an good awearness of so they came be truthful in their perfomance. I found for my character, what she needed to do was overcome her emotional barriers more than anything, this was hard to me to understand as it wasnt just a physical thing she can do.

I found that answering these quetsions really helped my performance as it allowed me to think about and have a better understanding of the scene and my character, rather than just learning the script. I also feel that beasue of this better understanding the relationship between mine and Dylan’s character became possibly more geuine and therefor the audience could connect and be drawn in more.

Lester Horton and Alvin Ailey

Who was Lester Horton?

Lester Horton was a dancer and choreographer who launched the modern dance movement in Los Angeles and was recognised for establishing the first racially integrated dance company. He also created his own dance technique, as he was fascinated by anatomy. This technique is continually being used in the 21st century.

His dance technique was very athletic and being fascinated by anatomy meant he could experiment with creating new movement, pushing the body to its limits and testing what it can do. This makes for interesting and exciting dance works. Horton also was the founder of some foundational movements, for instance, Horton uses flat backs and lateral stretches, tilt lines and lunges, all movements that could be found in a jazz warm-up. Horton’s technique also incorporates lyrical, circular movements focusing on stretching in opposite directions.

Who was Alvin Ailey?

Alvin Ailey began studying languages at univerity and only found his passion in dance at 18 when he began his formal dance training through the introduction of Lester Horton classes. Being very inspired by what he was experiencing through these classes Lester Horton became a mentor for Alvin Ailey as he embarked on his professional career as a dancer and choreographer. When Lester Horton died Alvin Ailey took over his company and in 1958 he started his own company the Alvin Ailey American Dance theatre, but kept the syle of Lester Horton through his company.

His most famous dance is Revelations, a celebratory study of religious spirit. This was a hugly popular piece as it showed a multi-racial modern dance ensemble that popularized modern dance around the world thanks to extensive world tours. In dance today we see a great deal of Lester Horton’s technique however most visbily in Aileys work, as he ensures all his dancers train by learning the Horton technique. We especially see Horton movements in Revelations as there are frequent flats back motifs as well as lateral Ts and athletic leaps.

What make a good dance performance?

Hockey (or watching the daisies grow) by Matthew Rawcliffe

This piece was commitioned by SICK festival and is an example of a good dance performance. I saw this piece at the Royal Opera House and it grabbed me for many reasons. Matthew Rawliffe choreographed and performed this piece as a solo.

The intention of the piece is to explore the life, achievements and struggles of the gifted mathematician Alan Turing who worked for the government as a code breaker during the Second World War. His work was critical and he is now highly admired. However, he was gay and was harshly persecuted during his life time only avoiding prison by agreeing to chemical treatment. He commited suicide at the age of 42.

Firstly Rawcliffe is a very engaging performer. He creates atmosphere, tension and intimacy. He is an athletic and strong performer which he uses to good effect when executing highly demanding physical sections but he also is a gentle and sensitive performer. This duality keeps the piece engaging as the audience is never complacent about where it is going next. You can feel the emotion Rawcliffe brings and sense a true admiration of his subject matter. He clearly cares and this is great to see on stage.

Rawcliffe is also experimental and confident with the use of props. He incorporates a manekin head and plinth as his dance counterpoints. His costume is unexpected. He does not pretend to be costumed as Turing or from that era. Instaed he maintains a contemporary edge by wearing an old T shirt, combat pants and odd socks. This means we can relate to him and we feel that he is honest. This again makes the piece interesting.

Music plays an important role. He uses Vivaldi’s summer concerto which is grand and beautiful. He also incorporates spoken voice as a recording. This creates layers and history and atmosphere. Again, the music is very connected to his emotions and this gives the piece depth.

Hockey is an example of what makes a good dance piece. To summarise this includes; physicality, performance strength, variety and dynamics, costume and music and most importantly authenticity.

Jose Limone techical assessment

Release tension in the neck to fully engage flow of spine. I held some dynamic quality back in the lunges I could have bent more into it. Start focusing on facial performance now as well as physical performance, to create more emotion and atmosphere.

Kendal Torchlight Carnival

For this assignment we were asked to devise a section of the Kendal Torchlight carnival under the theme ‘wild’. From the theme wild we came up with lots of different concepts, finally deciding on the idea of moths and fireflies around a lamp.

Given that the carnival was a free event, it meant that it was accessible to all social classes and ages. We explored different ways to engage the varied audience, and used our initiative to adapt our performance on the night, to suit the target audience. To ensure the younger ages equally enjoyed the event we ensured that we interacted with them by smiling and even giving them high fives, and for the older ages groups we made sure that were also engaging them by being animated and waving.

From the initial workshops we had, we learnt about carnivals and what works well in engaging the audience. We experimented and found the best ways to move and perform as moths. Trying different lifts and movements we also found what would work best in a carnival situation for example how could we do a lift which we could move with as the parade moved on. Equally the workshops helped to find what costumes would suit, not only the moth characters, but also would be breathable as well as movable as we perform.

A carnival is typically defined as a public event or celebration, usually held outdoors involving processions, music and dancing. Carnivals have been happening for generations and are ways for different cultures to celebrate their religious beliefs and culture. For example on the Mexican holiday known as the Day of the Dead, families welcome back the souls of their deceased relatives for a brief reunion that includes food, drink and celebration. In the creation of Kendal Torchlight we wanted to celebrate Cumbrian life and everything there is to offer, and through the theme ‘wild’ we aimed to present the wonderful wildlife there is. I believe we were successful in creating a piece of carnival theatre, as we were not only lively and dynamic but we also connected and found ways to celebrate our local culture, allowing the local community to connect with our piece.

In the creation of our piece we worked as a small group to devise movement. We had a collaborative approach to the development of the choreography with every member of the group inputting ideas and discussing everyone’s contribution. This meant that the piece was unique because all the contributions had slightly different styles. The final piece was therefore more varied than if just one of us had choreographed. Initially we found it hard to come up with choreography because we weren’t quite sure which way to take it but Kerry helped to give us focus and direction. Then the choreography went well. The group of 4 worked well together.

After rehearsing thoroughly in college we felt confident about doing the carnival, however still didn’t quite know what to expect, but once we got into character and set off we were really able to perform. Having a much fuller audience gave us more adrenaline which gave us the energy to keep going for a long time. Performing outside, we discovered, created many more challenges than rehearsing inside such as: differences in levels on the ground such a kerbs and pavements, different light levels, a large amount of noise distraction from other floats, and cooler night time weather. We had to absorb all these differences and still provide a professional performance.

I felt that as a group we had good stamina and were able to give 100% from beginning to end, as well as read the audience and adapt to suit the different target audience. We gave lots of energy when the crowds were big and conserved some energy when there were fewer people. However to improve I think as a group we could have communicated better during the performance to ensure we were tight in our dance routines, equally we could have found more ways to physically interact with the audience while keeping in character as moths rather than just waving at people as students.

Initally when we first started choreographing we were struggling to find material, so to over come this block we asked for help from Kerry, this meant we had a starting point to work from. On the night we realised our costumes were dark and not ideal for a night time event, so we asked for some fairy lights which we wrapped around our heads and bodies to make a more magical moth image.