March 23, 2005

Medea #9 – Thursday 09/03

The Day Before The BIG Performance....Ahhh... calm.

Well this day is finally here. We got right down to buissness. We decided to split off into the belt dance group and the court room group and work on our seperate sections, polishing them before a technical blocking then a full run through. While we were all off doing that Laura, Mary Kate, Sam and Gethin got to work on the lighting and the sound. This part of the session seemed to be productive in terms of running through important lines and the running order in terms of lighting and setting them up on the catwalk.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

after the lunch break...
We decided to do a complete run through of the piece whilst Laura sat out to watch the flow and most importantly to do the sound and lighting. Through out the run through we discovered there were a few more floors than we had originally predicted:

  • work around the painting – when to paint the child out??
  • entrances and exits in majority of places
  • removing the ribbons off Frankie before the 'Par de Dour'.

However, we overcame these, and the run through was beneficial becasue we were able to redeem these floors.

Hugh also helped us with a few polishing aspects:

  • Making the transitions part of the piece not just movements from A to B. An example of this is from the 'Par de Dour' into the courtroom scene. The music has a firm beat and Hugh suggested to walk with purposfull strides to the beat, which also reflects the sincerity and formalaity of the courtroom scene.
  • Expressions on peoples faces when positioned in the collumns. An example of this is during the belt dance and 'Par de Dour' Hugh told us to feel the oppression that the male is forcing onto the female, then translate that feeling into our facial expressions.
  • For Helen and I in the courtroom scene to portray physically the status of our characters, so the audience can see that we are Gods. Therefore we both took up more naturalistic positions of Greek God statues. The rest of the group agreed this worked well.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

For some reason, not intirely sure why. The Dada group with the belt scene were having troubles again. So after the session the went outside to reherse agin and i'm not sure if Hugh helped them at that point or yesterday, but hopefully they will be able to sort it out and get it how they want it to be, as it was looking really good. The boys also went out side (it was a lovely day) to reherse their movement fore the alternative ending scene. And whilst the other group were setting up there set around me I carried on with the painting and (hurray!!!) I know have one finished Klimt!!!!! So I only needed to stay an extra 3 hours!!!!

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

next session...
In the morning do as many run throughs as we possibly can. Oh and the group decided to use Annisa ideas of face paints as we couldn't get hold of masks. She came to the session with her face made up painted white and with red and black simple patterns to high light the eyes. So we'll be making ourselves up tomorrow. However, some of us (including myself) cannot or did not want to wear full white so we have decided just to high light the eyes instead, which will work just aswell in making the whole cast neutral tribal.

Last thing… just get a good nights sleep, and lots of us need to pack!!!!!!

March 21, 2005

Medea #8 – extended

The Painting...

Just another quick update. All is going well on the painting front. I stayed until 7pm – agian!! The things I suffer for my art! James and I have made yet more progress. However, I am leaving my baby (the painting) 'til next thursday session!!! I will have with-draw symptoms – but not to worry I'll be fine…

Medea #8 – Friday 04/03

Rehearsing... rehearsing and more rehearsing... in the studio

Today was as predicted all about the rehearsing of what we already have, which does need to be done. So we began from the very beginning and blocked through everyones individual group pieces. The blocking worked well as we were able to figure out some form of transition between each section. Laura also managed to finish her CD of sound effects for the piece, such as the childrens playground and scream to use at the very beginning of the performance, and then the music incorporated in the 'Par de Dour'.

The overall opinion of the sound effects being incorporated into the piece was that of uncertainty. This uncertainty was surrounding the very beginning children in the playground and the final scream. It seemed to go on for too long and because of this it lost its chilling effect. However, we were all willing to not dismiss it straight away and see how it works when everything is complete and together.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Unfortunately we were not able to get through blocking the whole piece. However, at least we have an idea of what goes where etc.



courtroom scene – pictures courtesy of Laura Moss.
Our group (Me, Kate, Becs, Helen, James and Will) as stated previously worked on the courtroom scene (Medea #6). So in this session we were able to incorporate the chorus into the action as they play a vital part. We worked on:

  • The transition: from the 'Par de Dour' to the courtroom positions (see diagram Medea #6).
  • The main focal characters, courtroom Medea (Kate) and Jason (Will) for the first half of the scene will be lifted up whilst they remain standing on the low platforms by their own side of chorus onto the stage.
  • The Gods (Me and Helen) will walk (WITH PURPOSE) to our positions on the back taller platform.

  • Directing the chorus/learning the chorus lines: After much deliberation and struggling we found it worked out best if myself and Helen stood at the front directing it through step by step. By doing this we found it much easier and successful.

  • Positioning of Medea and Jason 2's:(as shown in diagram Medea #6). The group decided that they should maybe try acting from the catwalk rather than having too much action and different conversations going on in close proximity to one another. Therefore with them positioned on thje catwalk (as shown in the photos) it symbolises that they conversations from the past triggering the reality. Also the audience can concentrate on better levels physically and with in the logic.
  • The use of the catwalk also added the emphasis on the location of the situation. By the use of the bar and metal grating of the catwalk it gives the impression of a prison cell, and with in the actual text Jason comes and speaks to medea when she is in a cell.
  • Hugh suggested the use of the foam matt behind Becs being pressed against the wall on the catwalk and having her tied to it as if she was about to be given her death sentance ie a lethal injection. I thought this concept was a good idea as it re-emphasised to the audience the sympathy they should be feeling for Medea. However, this didn't work as well as having them btoh against the bars so we reverted back to the original idea.

Everyone seemed to like this scene as they said it provided more of a naturalistic approach, wihich is what we were aiming for in order for the audience to be a ble to engage more with in the action of the performance and understand the issues further.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

alternative ending scene
We successfully blocked the movements and the singing for the girls harmony and the boys learnt there movements to the beat of Gethins druming.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

the painting
I managed with James, to get alot of the painting done and everyone seemed to like it, they said it was looking really good and they can't wait to see it finished.

Everyone decided to move its position with in the staging to a more focal point, we tried having it in the canter corner, but that would be difficult as the material surround was in the way. So eventually we decided to have it on the opposite side to what was originally decided with the black material collumns framing it either side and the brick wall behind. Therefore at the beginning when Gethin is playing it will be directly in the background and at the end when he is playing I can be painting the child out to the music in the background.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

next session...
Aim to run the whole performance, and polishiong off parts. Aim to piece together the girls and boys alternative ending – as it is all blocked and ready to go. Annisa will be working on transfering Grace's news report onto VHS over the weekend. However, in thursdays studio session we do need to concentrate on the technical aspects of our performance such as the sound and lighting cues. But its all coming togather nicely-well done everyone its going well!!!

March 09, 2005

Medea #7 – extended

The Painting

I managed to buy the paints (along with the very nice red material) so… once our group had left I stayed on with James to start the painting. I stayed until 7pm!!! I hope the paintings worth it, not complaining though…. I'll get some pictures of the digital photos James took of the paintings progress posted soon, once James has posted them on his site!

Medea #7 – Thursday 03/03

Very Very Very Productive Studio Session

Firstly I just want to say that you can find pictures of all our productive work on the lovly Laura Moss's site.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _


The first hour of the session was concentrated within everyones own groups, so that we could have the space in the studio to figure out realistic staging etc. So basically rehersing, then… In the second hour of studio time everyone showed their pieces to the rest of the group, first up, us with the court room scene… everyone was pleased. Next up was the dada with dance and par de dour.

I feel Frankie and Jack's 'Par de Dour' reinforces the idea of oppression as well as being beautifully choreographed by Frankie, and Jacks a brilliant dancer!

In the second half of thursday (afternon) we managed to learn Frankies choreography for the beginning of the chorus section which takes influence from the Greek ritual dancing that Annisa took us through in Medea session #2. This is much more organised and concise compared to before – well done Frankie. This results in us coming together into a tight group in the center of the stage which then parts leading into the belt scene (as shown below) this is a much better, smoother transition.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Next session...
It's just a case of rehersing it through from start to… sort of finish (yet to be done). Just another note to say that this rehersal went so well in that everyone came back from their smaller groups with brilliant ideas which everyone loved. So the groups dynamics are really working great and I'm loving working with everyone!

Medea #6 – Wednesday 02/03

Sofa Mania at the Art Center

Yes we finally met to discuse the all important Court Room Scene (complete with some form of the 'Scales of Justice'). Well to begin with, from the previous session in Rootes Social we already decided to base this scene on the concluding text in the play between Medea and Jason. So with a little help from the cafes food downstairs we managed to get our brains working and came up with the following:

  • Work around the final text between Jason and Medea.
  • Have one set of Medea and Jason acting out the text from the script (a.k.a. the 'emotional' Medea and Jason).
  • Have another set of Medea and Jason acting out extra script (a.k.a. the 'court room' Medea and Jason).
  • Have a 'chorus'involved running through the chorus idea from previous scenes. These would act as a sort of judge, barister, etc except…
  • The Jury as the audience will take on this role, however, will not be asked to come to an overall decision but their own individually.
  • Adopt 'God' like figures to represent 'The Scales of Justice'. (Took a while to discover how to portray 'Scales of Justice' I think this idea works well – well done team!)

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

The all important script...

Jason 1 / Medea 1 = 'emotional'
Jason 2 / Medea 2 = 'court room'
Chorus = defendant/prosecutor representatives / judge (ish).
God 1 and God 2 = Act as the 'Scales of Justice'.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

J1: This tragedy affects us you as well.
M1: I dont mind crying, as long as you don't laugh.
J1: Poor children, what an evil mother you had.

C: Objection.

M2: How can you call me evil when you deserted your own family purly to boost your ego?
C: Order in the court.
M2: My actions were justified.

J1: Did I take a sword and murder them?
M1: Your arrogant behaviour was instrumental.
J1: Let's get it right, you killed them out of jealousy?

C: Objection.

M2: How well can you possibly know me if you think i'd kill my beloved chldren just because you were paying more attention to that slut?
J2: (to audience) I object, your honours the defendant, my wife is letting her emotions run away with her.
C: Sustained.
M2: (to audience) I appologise your honours.

M1: Do you really think it's nothing to a woman, to be rejected?
J1: A woman can be sensible; but you're mad.
M2: They're dead, aren't they? You don't like that, do you?
J1: The guilt of their murder is on your head.
M1: The gods know who started all the trouble.
J1: They know one thing, that you're a murderess.
M1: Go home and put your wife to bed.
J1: I'm going, and the children?
M1: No wife, no children. Never mind, it's worse when you're older.
J1: Oh children, how I loved you.
M1: I loved them, you did not.

C: Objection.

J2: (to audience) Your honours, she's just being vindictive.
M2: I've done so much for you. I sacrificed my former home and family for you. I made the ultimate sacrifice a mother could make to save my children from the terrible existence you left them with.

M1: I did it for your sake.
J1: I want just to kiss the boys.
M1: Just found out that you like them? A while ago, you banished them.

C: God in heaven has dominion
Over so many events.
He can frustrate what seems inevitable,
And bring to pass the thing that you least expect.

G1: You least expect a mother to kill her own children.
G2: Would you think any different if it were the father?
G1: That's different.
G2: How is that different?
G1: It's just different, think about Agamemnon, no one objected to him killing his daughter.
G2: We had a hand in that, this was simply Medea's personal vendetta against her husband.
G1: It was a comppletely selfless act.
G2: Selfless? Selfish.
G1: No, selfless. She gave up her own family to be with him in Greece, then Jason left her and in desperation she had to give up the only thng she had left, her children.
G2: She couldn't possibly have loved her children.
G1: Ahh…. It was out of love that she killed them. What was the alternative for the children? Banished, raped and ending up the same way anyway, reguardless. They were bound to die.
So it is only right that she who gave them life….
G1+G2: …. should take it away.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Ideas for staging...

This is a rough stage plan layout (took ages to do bloody painit!) isn't brilliant but hopefully gives an idea. Although its bound to change when we get going in the studio we'll have to see….

Then we flipped a coin to see who got what part (for the guys it was obvious!) reults as follow:

Jason 1: James B
Jason 2: Will
Medea 1: Becs
Medea 2: Kate
God 1: Rachel (me…)
God 2: Helen
Chorus: rest of the group.

(a few tears were shed, but, everyone was generally happy… Will I know you thought you were born for Medea 1 but maybe next time…)

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Next session...
…is studio time tomorrow, when everyone is showing their ideas, looking forward to it and hopefully everyone will agree with our scene. Things to try and do before tomorrow, maybe learning lines, could be a good start.

Right off to buy material for the blood and paints for the master-piece of a painting!!!!! (oh god – i've got a slight challenge! It WILL turn out fine…)

March 01, 2005

Medea #5 – Friday 25/02

Rootes Social

Today we actually were productive in terms of facing up to what the content of the middle should entail. We thought of these ideas and decided that (as discussed previously) now would be the time to split up into smaller groups for each of the middle parts. Smaller groups are more beneficial to the standard and accuracy of work we produce, and it allows everyone’s ideas to be incorporated into the final outcome. Also, it will ensure a variation in techniques and styles, therefore obtaining more depth to our piece.

After allowing everyone to have their say on the middle ideas we agreed and came up with 3 certain ideas to experiment with and produce:

  • Movement / Dance combined with the Dada poems. Incorporating Charlotte's idea of using strands of the red material tied around a central figure, whilst other people are holding ends of each strand of the material and pulling the central figure. This stylised movement is depicting oppression. Also they are working on a 'Par de Dour' between Jack and Frankie to indicate the oppression that Medea faces in Society.
    (Jack - Charlotte - Annisa - Frankie - Kali - Julia)

  • Alternative Ending. The idea that what if Medea didn't kill her children, this would provoke the audience into different reactions for where they stand. By showing an alternative ending the aim is to get the audience to contemplate their preliminary assumptions of Medea and replace them with different view if say the children had been left in the care of Corinth's people and then killed, or if Jason killed them, or if they died in exile. By doing this we can hopefully show to the audience why Medea chose her option.
    (Laura - Grace - Gethin - Sam - Mary-Kate)

  • Scales of Justice and court room debate. This is to allow the audience to participate and allow space for a more naturalistic approach. Maybe using some of the elements from the very beginning debate between Jason and Medea about 'who does Euripides sympathise with most?’ which involved the whole class on the first day (Medea #1 – Thursday 17/02). Therefore, involving the whole of the group within the debate: one half on Jason and the other on Medea. Maybe incorporating the scales of justice in the middle as an axis of action.
    (Beck - Kate - Rachel - Helen - Will - James)

The budget...

I will try and get the fabric in London over this weekend; if not then I will go into Leamington on Wednesday afternoon and get it along with the paints for the painting. Charlotte is going to find out about some body tights so we can use them to portray oppression.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Ideas for Justice (scales of Justice and Court Room scene)...

Next session...

We will be presenting and demonstrating our ideas about the court room debate to the rest of the group on Thursday – 03/03. James, Becs and I will start on the painting of Klimt's Mother and Child on the canvas. Should be good!

Medea #4 – Thursday 24/02


This session in the studio began with the whole of the group discussing and experimenting with the opening of our piece. As previously discussed we are beginning with the killing of the children, which will be performed on the catwalk. This succeeded in giving an eerie and disorientating effect, which are fringed with good emotions to press onto the audience. After we experimented with the different techniques and pressures/rhythms we could use, we ended up with Kali and Frankie on the walkway, as representations of the children.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Structure of the beginning...

  • Gethin and Sam's song played live at the beginning (for now!) as the audience enter into the dimly lit studio
  • As the song finishes and the audience are seated the lights fade into darkness.
  • Kali and Frankie are up on the walkway – wearing masks (white) – sound effects brought in slowly of children laughing and playing – steps become louder and increase speed, representative of the chase between them and Medea – laughter turns into screams – the lights then reveal the children's bodies (Kali and Frankie) lying over the sides of the catwalk – then they release a long flowing piece of read material over the sides to the floor which will then be dropped.
  • Kate will then begin her Latin requiem style of song – reminiscent of a morning song. Preferably Kate will be positioned on the catwalk at the furthest corner from the audience so it produces more of an echo around the studio enhancing the atmosphere. However, she might also be positioned within the center of the chorus on the main stage area, lit by a birdie. I feel the catwalk idea would work the best.
  • The chorus then enter either by coming through the audience or around – not entirely sure yet!

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Ritual movement and news report...

This next section involves the whole of the group. This is where we have taken the influence from Annisa's Grecian ritual work with us the previous week and worked it to our own needs.

However, during Kate's song a news report will come in acting as a transition from the killing into the main section of the piece. This was inspired by Baz Lurman's 'Romeo and Juliet'. Laura, Will, Julia, Grace and Frankie went off to construct the modern day news report by taking lines from the text, while the rest of us worked on the following section of the ritual dance:

'Everythings gone wrong

And the atmosphere all full of bitterness

A bad day for Jason, and he deserves it

But for Creon's daughter, she suffered because she married Jason

Jason has let Medea down

Her and the children too

She's pestering the Gods to bear witness

To the way Jason shows his gratitude

It's affected her, she's given herself up to grief

All her labour for her children - in vain

All the long toil of birth - gone to waste

All the love she lavished - thrown away

What anger she must have felt, to make her kill.'

  • This report will be shown on the television screen positioned in the corner hanging off the catwalk.
  • The chorus group will turn to watch the report.
  • As the last line finishes we have allocated lines to 8 members of the group. These lines were collected from the public taken from the vox bopping session (results shown in Medea category of mine Kate’s and Bec's). However, at this stage we will be using the negative views only. My line is:

'She uses the children as weapons to destroy her husband'

  • As we say them we turn to face the audience.
    Those without lines turn as the last line is spoken and begin to move in the same manner to an allocated rhythm as the allocated lines are repeated (overlapping one another). This movement is taken from Annisa's original work, therefore it is very aggressive to reflect the emotive matters of the words.
    As the lines are being repeated the group members without lines highlight some of the words from the lines:

'selfish' 'sick'

  • We then assigned the words that we thought of (Medea #3 – Tuesday 22/02) to smaller groups, we then start to chant those words. Re-emitting the factors of the themes to the audience in an obvious form.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Other general ideas...

  • Jack had the idea of using the 'shoaling' process. Which would be representative of the chorus as a mass body and a community expressing views on Medea? However, when we experimented with this it ended up being hard to maintain for a long length, and looked quite messy and disorganised, therefore this technique might not work, although the concept does.
  • I had an idea to incorporate into the end of the killing the beginning of marking the painting in some form, as it is representative of a sacrifice. By the use of red paint, from the catwalk it can be dripped onto the painting below to signify the bloodshed. Then as the chorus enter it could be 'spiritually' lifted up onto the wall hangings, as a symbol presentation of the sacrifice. However, people were saying that this could be impractical. Therefore, it was decided that it should be hung from the start on the wall.
  • Towards the end of the performance the use of the 'positive' public quotes in order to try and persuade the audience that Medea was justified for her actions in terms of Medea's own logic. There is also a final news report:

'God in Heaven has dominion over so many events

He can frustrate what seems inevitable

And bring to pass the thing that you least expect.'

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Next session...

We have been discussing about splitting up into smaller groups to work on the middle section. By doing this I feel we will get a lot more done and more people will be able to express their view clearly to the rest of the group. Hopefully we'll then have a masterpiece!!!

Medea #3 – Tuesday 22/02


Today’s session seemed to go surprisingly well in terms of figuring out a structure for our presentation.

Our structure so far…..:

The main structure of portraying the beginning death of the children and then ending with the children’s death once again to draw and emphasise on the comparative elements shown with in the middle structure.

  • Beginning with darkness.
  • Sounds echoing from each corner of the studio of children laughing.
  • Gradually bringing the noise of people running on the catwalk above.
    This beginning section will hopefully engage and emphasise to the audience our conventional interpretation of the 'innocence' of children.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

The use of art work

To be used with in the piece as an idea of Medea being a representative of an iconic feminist. This art work would be of central focus. Using a painting of Mother and Child can intertextulising this status into our performance and the view on Medea being justified for her actions. Some suggestive pieces:

The one on the left is Matisse and the one on the right is Klimt – each is portraying the justification of the mother love for her child (children). Perhaps Klimt’s embrace will portray more of this justice as the closeness the painting conveys will provoke a deeper meaning, and therefore insight for the audience.

One of these types of paintings will be painted onto a screen canvas, and then during the performance the image of the child will be gradually wiped away by white paint to represent the children’s death. However, not swaying from that fact that her love for her children ever faltered.

Also Ideas about the painting being mounted onto a collage of newspaper cutting of child killings – such as Beslam and closer to home such as the Sarah Pain and Holly and Jessica murders. However, this might create too much of a contrast of opinions and meanings as we want the audience (in the end) to think of Medea as being justified for her actions.

The use of Chorus???

Views on using the chorus as part of the main body of communication in our piece have been expressed previously. There has been progression in this department by Jack suggesting the technique of 'shoaling'. I liked this idea as it reflects how the chorus are representative of a jury and follow the same views. So Jack – good idea! We'll have to see if it works out when we have the performance space on Thursday.

Use of interview opinions???

From the initial research of vox bopping, we have been thinking to incorporate some of the answers into the piece. We would start with the negative comments on Medea's actions and nearer the end introduces the positive ones. However, the ways in which we present these comments can either be done by using the actual voice recordings or having us re-enact these through a micro-phone.

New word collage list:


_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

The set layout
Thank you very much to Jack who produced this clear layout design of our set.

Throught out the discussions it became apparent that a performance style presentation was occuring in our ideas. So we then decided on a layout that would suit that purpose. Previously Frankie had mentioned positioning the chorus in boxes; possibly we could use drapes to form the compartments at the back of the stage, with the alternative use of togas!!!

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Progression of the middle...

  • Group ritual dance: From the previous weeks session we decided to incorporate some of the movement from the dance, such as the chanting and the simple movement to simple rhythm. The object however, that we will be focusing the sacrifice on will be the painting. By having the sacrifice as the painting we are keeping the realism element low for the killing so as not to over dramatise the event.
  • Use of Song – Gethin and Sam are producing a song around the theme of hopelessness to perform live.
  • The use of Jack's Dada poems which can be centered around one of the thematic words.

  • With the painting…
    We also decided as a group that we would finish with the killing. This will be performed in the same way as a t the start of the piece. However, it will be brought to light and sense that Medea's reasons can be justification. Through the expression of this and the justification of sacrifice apposed with love the child in the painting will be erased (painted out through out the performance), showing the children have disappeared forever.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Next session...

Well be gathering all these ideas together and make them make a bit more sense! However, I feel we need to LISTEN TO PEOPLE to enable us to work together (we have progressed). However, it’s been a good idea to set different people work to prepare for next session, for example, Gethin and Sam's song – looking forward to hearing that!!!

Medea #2 – Friday 18/02


This session began in the (all too important) Starbucks in University House. Our aim was to work in the Learning Grid, which we successfully achieved this aim once our veins were filled with plenty of caffeine. Once in the Learning Grid it proved a great environment to throw ideas around the table.

Points of discussion:

  • Wanted to use the children as the main focus of our work – decided to look at why Medea did what she did and the 'illogic' of her actions.
  • The court room situation – getting the audience involved with in the action as a jury. Deciding for themselves whether Medea's actions are justifiable at the conclusion of our work. Maybe a bit too clichéd but in the sense of changing the audience's initial view about Medea's actions from the beginning to end.
  • Dada poem – Jack created from the text which fitted well in with the issues of Medeas reasoning and most importantly the focus on the illogical. However, as a group we thought it more relevance to center the dada poem on certain key moments with in the text or either central emotions. As a group we came up with these words:

Socio-political sacrifice
Over the top
Financial gain

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _


After an hour we then returned to the studio to start our session time. Julia and Gethin performed warm-up exercises to the group, many which were beneficial to getting the group ready to produce ideas about our work. However, next time it would be more beneficial to perform some concentration exercises to gain some focus, such as performing Hugh's glass exercise in beginning warm-up. Doing this will hopefully mean that we achieve an entire group focus rather than individually shouting out thoughts and ideas.

The £175 budget!!!!!
Hugh kindly informed us that we will be getting a whopping £175 to go towards setting, costumes, props, media etc…. (Also showed us 'behind the scenes' of the studio – wow…) This made the group think of more extravagant ideas!!!

Ideas for SET – Illogic as a subject matter….

  • Black and White Chess Board – again as last time!
  • Having box compartments at the back of the stage to enable the use of different levels and having the compartments will represent the oppression and displaying the children in them or on them as a constant reminder for the audience.
  • Using the catwalk in different ways, for lighting different directions of speech etc.


  • Working in an illogical fashion – turning the illogical on its head and ending up with a (hopefully) logical idea. Therefore, presenting the killing, which occurs at the end of the text at the beginning, and then repeating the killing again at the end, attempting to lean the audience views on the event over to the sympathetic side by showing them the key moments which led to Medeas decision? We can see if there view is changed the second time they see the killing.
  • Annisa's amazing Greek ritual – In the studio Annisa took us through a traditional Greek ritual dance. This involved lots of different simple rhythms amalgamating together to form an over all rythmic dance pattern. This movement lead up to a killing/sacrifice of an ndividual chosen within the dace and then proceeding into their burial ceremony. The first time we tried this, we did it light heartedly with hardly any concentration. However, the second time (once Hugh had taken us through his 'glass exercise') the concentration was tight and I felt the difference of intensity and power the effect the concentration had on all of us and probably more benificial for the audience's experience. I feel that segments of this rutine can be incorporated within the staging of the killing as it can be portrayed through a more styalised formatt with out having to be too naturalistic, which wouldn't work.
  • The use of song and rythmical music combined with the choreographed 'ritualistic dance'.
  • The use of 'Dadaism' inspired poems or songs – working on the same level as the illogical.
  • Exploration of Medea's psychy aspects.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Next session...

The final decision was made to take the text and translate it in reverse, therefore beginning with the childrens deaths. The next step was to figure out what should proceed the sequence. Two groups were formed. The first group decided that with the thematic words the group came up with in the start of the meeting, they will search the text for phrasing to express these, looking at displaying Medea's emotions rather than actual moments. The secong group decided that they would start with the text, and from this highlight the key moments that made Medea kill her children. An example of this is when Jason betrayed her and when Creon declares that she is to be exciled. We arranged an even split and decided to work on these ideas in the seperate groups for our next full meting next thursday.

October 2022

Mo Tu We Th Fr Sa Su
Sep |  Today  |
               1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30

Search this blog


Most recent comments

  • On mother and child images, what about Maid Marion and the Baby Jee, as the ultimate, architypal ant… by Hugh on this entry

Blog archive

RSS2.0 Atom
Not signed in
Sign in

Powered by BlogBuilder