Summer Residency @PDSW

A lot has happened in the 9 months since I last posted a blog…where does the time go! Most excitingly He Ain’t Heavy is now being produced by Turtle Key Arts; Ali King has taken us under her wing as we gear up for touring in the autumn and beyond. So after months of planning, funding applications and creative chats we are now back in the rehearsal room.

Last week we were incredibly lucky to have a summer residency at Pavillion Dance South West. We were very grateful to everyone there for such a brilliant experience and it was a fantastic opportunity to spend focused time revisiting the movement from the show and exploring how we can develop it. Sophie and I now have a ‘He Ain’t Heavy’ vocabulary of movement that includes “Head-Lock and Roll” and other  restraining techniques we happened to find on the internet! It was a hugely productive week for finessing and generating material, as well as giving us a heads start on clarifying the overall structure.

For one morning, whilst I worked on straps, I was joined by Jan Roe who was drawing as I moved. It was such a lovely experience to share creative space with Jan and an insight to discover she feels the movement as she draws it.

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Grania-Pickard-PDSW-©-Jan-RoeGrania-Pickard-PDSW-©-Jan-Roe

He Ain’t Heavy Workshops

 

Photo Credit: Paul Blakemore

On the 12th November we trialed our first He Ain’t Heavy workshop in partnership with Bristol Autism Support and Circomedia. It was an incredibly positive morning where we met some very talented people (pictured above), had a lot of fun and were able to test out our new workshop structure.

Jimmy and I will be delivering these workshops in Bristol and across the U.K. from 2017….get in touch if you would like more information!

 

 

 

Post Preview…Perambulations

I have in fact been for a few walks since we completed the two previews of He Ain’t Heavy last week; I’ve walked to my wife’s allotment, I’ve walked along the Bristol to Bath cycle path (and experienced the most unusual heckle to date – “scrumdiddlyumptious”) and today I walked to Ikea under the pretence of returning some fairy lights that we didn’t need for the show, but in all honesty I fancied some 50p chips. This week I’ve also taken a stroll around all our work to examine if we have done what we set out to do. I read over the ACE reporting requirements and experienced a sense of sinking disappointment; not that I had to write an evaluation but that I only had 9000 characters to cram my brain into… I was geekily relieved to discover I can also attach a self evaluation report!

So whilst I am contemplating fonts, formats and frameworks here are some photos taken by Paul Blakemore in the dress rehearsal for the preview. We also have more workshops coming up, a website to launch and we are discussing touring plans for 2017, so there will be plenty more news coming soon…

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Time has come…for previews!

It’s Tuesday and we are at Trinity working away. Tomorrow is dress rehearsal and Thursday are our previews for an invited mixed audience.

The idea to have a friends and industry special preview has come about because even though we are making and finishing the piece now, it will not actually premiere until next year. We are aiming to premiere and tour with a big bang next year including different type of spaces and places including theatre as well as village halls for rural touring.

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This is the moment when we see how everything comes together and sharing that with an audience is essential. A performance is never complete without having been shared. It’s also impossible to tell if what we have made resonates in the way we think until we’ve seen your reactions.

If you’d like to come let us know, there are still a few spaces left.

Wish us the best of luck and if you’re coming see you Thursday!

Lina

Producer of He Ain’t Heavy for Grania Pickard and Oddly Moving Circus Theatre.

#HeAintHeavy

@graniapickard

Aerial Choreography with Charlotte Mooney

​I wanted to work with Charlotte because she is kind, funny, doesn’t take any of my shit,helps me to be brave and is one of the U.K.’s best creators of aerial­theatre. I have had the pleasure of performing with and being directed by Charlotte, but it wasn’t until I was in a room with her and 18 young people that I could look on from the outside and see how she brings out the best in people, and is able to guide them through the inevitable devising stickiness until they find something wonderful.

Ordinarily if she were working on a new piece of equipment there would be four weeks allocated to finding out what the people in the room and the equipment were capable of. We had three days (well, two and a half after rigging).

One over-­riding impression thinking back to last week was how calm it was. We followed a process where we explored what was I able to do on the equipment, what images we wanted to see, and what movement flowed from improvising. This meant that all the choreography was led by what was possible on the equipment and anything we attempted that wasn’t possible, for whatever reason, was let go. This immediately removed any value judgements from what we created and (to steal a phrase) gave us a menu of options.Charlotte would also extend 5 minutes of improvising into 30, and see through the half­thoughts or misdirections to suggest a wealth of ideas that would take us through an afternoon.

It was an incredibly productive time and by the end, despite being hand sore and brain tired, we had created a wealth of material and a stand alone aerial section which met the guidelines we had been given by Jimmy and felt like it had a natural flow to it. There is still more material to be discovered but thanks to Charlotte I have a clearer idea of how to approach it and how it can potentially fit with what we have already created, and I feel I have reached somewhere I would never have found without her!

Director’s Cut; Jimmy Whiteaker’s insight into the rehearsal process

The following blog post has been written by guest writer, director Jimmy Whiteaker….

I was eleven and I fell backwards and my arm was underneath me like this and my skirts went up over my head and my friend, Beav, could see my pants – he turned out to be gay so it didn’t even matter – and I’d hurt my arm so I kept shouting, My arm! My arm! like that, and my friend said, You sound like a peacock! My arm! My arm!” I watch and listen and even though I’m laughing, I keep still. When I first worked with Grania on He Aint Heavy as a dramaturg I did that a lot, stayed still and watched her performing herself. Early on, I had the ridiculous image pass across my mind of one of those Victorian collectors watching some unknown animal emerge in to a jungle clearing. Like a poor man’s Kipling without all the racism. 

It was fascinating though, and a privilege. That sense of privilege is vital to how I work with Grania because bit by bit she lets me in to the unique world of her intense relationship with her brother, Sean. And from her and Sean to her mum, to her dad, to their evolving history. Asking Grania to perform herself is a delicate proposition. It’s risky. It asks a great deal of courage of her because there’s no character, no portrait of another, to present herself behind. It’s her history, her intensely lived relationship with Sean, newly imagined with an audience. That sense of privilege is key in approaching the sometimes difficult devising process with her – but it has a wonderful bonus. When the show goes up with an audience I’m willing to bet that they share in that sense of privilege, of a delicate proposition, of personal risk and a little story that implies so much outside of itself.

When I met Sean recently up in Hull with Grania and the second performer, Sophie, the thing I remembered most was the sheer amount of physical contact. Sean couldn’t get enough of Grania and nor she him. Apart from his hands cupped in a unique way around hers, his feet hung in a unique way over hers, him pressing her head on to his shoulder in a loving and undiscovered wrestling move – apart from that it was the way she formed around him that struck me.

 I find those moments that point to so much more delicious. Finding bits and pieces that encompass whole sides of their relationship and intensifying that flavour is exciting; through risky circus, through theatrical images, through gesture, movement, music, live games, through structure and story and feeding and control and restraint and inviting the unexpected. Finding ways for an audience to newly imagine her life with her, live onstage is exciting. 

Before we started work on this phase I asked her to go back to the first creative impulse that she had to make the show. It was a big moment in her life when she simply wished her brother was there. So I want to bring that wish in to the auditorium, to present our problem to the audience: to try and bring Sean in to the same room as them. For them to try and form Sean and Grania. To taste it against their own particular flavour, their own autobiography. Though it’s impossible, it’s the joyous attempt even so. I’m looking forward to the next bit of making in August – not least as Grania and Sophie make us all warm up to Keaira LaShae, Burn to the Beat. You get to ride an invisible horse and try to get it right and look as good as professional dancers and utterly fail apart from the invisible horse. Highly recommended.