RESOURCE PACK 2016–2017
CHAPTER 5
CONTENTS
RESOURCE PACK SUPPORTING INFORMATION
3
MARK MURPHY – IN CONVERSATION
4
LIVE UPDATE
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part D – Aerial
6
Meet Out Of This World Head Rigger, Alex Palmer
7
Research Tasks
8
Creative Tasks
9
Discussion Tasks
10
GLOSSARY11
FILM GLOSSARY & SOURCES
12
OUT OF THIS WORLD SUPPORTING INFORMATION
UK Tour 2017
Company Led Workshops
Credits
RESOURCE PACK SUPPORTING INFORMATION
How to get the most out of your interactive Out Of This World
resource pack:
To get the most out of this opportunity we recommend the
following:
Be your own Director. Make your own decisions.
Go behind the scenes in real-time. . .
•If you haven’t already done so, make sure you sign-up to register for a reminder so you don’t miss out on this exciting opportunity by visiting www.outofthisworldtour.co.uk
This resource pack provides users with a unique opportunity to
follow Mark Murphy and his creative collaborators as they begin
the active production stage of a brand new touring show, Out Of
This World. Specially devised tasks will invite participants to step
into Mark’s shoes…
•There will be a very special bonus chapter available in April 2017 – more details to follow nearer the time
•Each chapter will be downloadable from the following link www.outofthisworldtour.co.uk/resources
. . . What might you do differently if you were directing
and producing this show?
•The resource pack has been designed as a ‘Director’s Notebook’, and to get the best experience we recommend tutors provide each student with a printed hard copy, that they use as their own journal for recording ideas and inspirations, and responding to the creative tasks (in chapters 2–5)
Over the coming months resource users will ‘meet’ the creative
team behind Out Of This World, who will share their knowledge
and expertise, as the production develops. Through video diaries,
interviews and written text, users will follow the highs and lows,
opportunities and challenges faced by Mark and his team, from
initial idea to fully finished touring production.
•A variety of video links will be included in the chapters, including regular video updates from Mark Murphy detailing the experiences of him and his team, during the creative process. All users will therefore require the ability to view these films to ensure they get the fullest experience
Users will be given ‘live’ updates as Mark and his team take on
any challenges around bringing the show into being. Plus, there
will also be the opportunity to learn about Mark himself, through
frank and in-depth interviews, that will unveil the creative force
behind Out Of This World.
•This resource could be used as part of group study or by an individual
•Users will be kept up to date with details about the tour throughout.
This is the fifth of six monthly instalments (‘chapters’), which are
being released to provide an invaluable learning opportunity for
anyone with a passion for performance and creativity.
Aimed at GCSE, A Level, BTEC, National Certificate & Higher
students studying for qualifications such as Dance, Drama
& Theatre, Performing Arts, Theatre Technology & Stage
Management and Acting & Theatre Performance, resource pack
users will be set creative, research & discussion tasks to support
learning for all students with an interest in physical theatre,
performance, directing, designing and producing.
3
MARK MURPHY – IN CONVERSATION
Out Of This World has been six years in the pipeline. How
do you keep giving a project like this energy, over such a
long period of time?
“I think because I know all along that if I can just get to do the
really simple thing, which is actually physically making the show,
that’s the easy bit, the bit that feels like breathing more than
anything, then I’m going to create something that’s going to be
really stunning and really beautiful. But that process involves
constantly hacking through the jungle of administration and
funding systems, and personnel changes and all of that. You
can see this little glowing ball of light, constantly just ahead of
you, and you’re going ‘I will get there’, ‘I will get there!’ I’m also
bloody-minded because I’m an artist and that’s what I do. I make
work. And if I’m deprived of that I’m a very, very, deeply unhappy
individual.”
“Rather than trying to slavishly build scenes too quickly, I like to
take the essence of the scene and try and find a way to make
that. The structure of the script is really important, but what’s
happening within it is only there to be used if we cannot find
something better. I will write it and think it’s as good as I can get
it, but then by adding all those people, and all that experience,
and all those brains, that is when it changes and actually comes
to life. And if we can’t find something better than what I have
done sitting on my own for months on end, then that’s fine
because I’ve done all I can to make a brilliant show. But the
chances are the sum of our parts will always make something
better. At best the script should be a skeleton or road map to the
idea. The rehearsal is when the real magic happens.
We’re residential as well which is great, so we’ll all be staying
together throughout the six weeks in Stirling, Scotland. This is
really important for me. As the saying goes, ’most of the really
good stuff happens in the coffee break’, and I think this is true.
You can make connections with people when you are staying
together, that you can’t do when you’re together in a formal
rehearsal room. In the evenings, I will cook for people, because
I love to cook, and it’s during these times when we’re relaxing
together, that’s when new stuff will be discovered.”
It’s day 1 of your 6-week rehearsal period, you walk in
the room, and what happens next? How do you begin the
creative process?
“We may begin by watching four or five films, and have a total
movie binge on the first day, and maybe just let them seep in for
a bit. That will include everyone, cast and crew. We’ll definitely
watch Alien. We may watch Three Colours Blue, part of a
trilogy of films by the Polish Director Krzysztof Kieślowski (19411996). We will probably watch Gravity (Alfonso Cuarón), and
21 Grams (Alejandro González Iñárritu), and will definitely watch
Inland Empire (David Lynch)”.
How do you feel when the rehearsal process finally
begins?
“On that first day, I will feel like I’ve never made a show in my
entire life. And probably - why are all these people looking at
me?! All I know is how to make the last show I made. I don’t
know how to make this show at all. And that’s a glorious terror!”
[Please note there is a film glossary at the end of this chapter to
provide more detail about the films mentioned by Mark.]
4
LIVE UPDATE
Video diary Mark Murphy – the Director’s insight:
The culmination of six years of dedication and hard work will soon come to fruition. In
the meantime, there is still much left to do. This month we join Mark in rehearsals, for a
‘behind the scenes’ video update:
https://vimeo.com/209450504
Rehearsals have begun! The company is currently spending
intensive time – both living and working together – during a
six-week residency with the Macrobert Arts Centre, in Stirling,
Scotland. Through the Macrobert, a partnership has been set up
with Beaconhurst School [a 10-minute walk from the theatre] to
provide rehearsal space for the first four weeks. The company
have taken over the school gym and set up the truss and rigging
plus part of the set to test ideas and rehearse. For the final two
weeks of the residency, everything and everybody will move
into the Macrobert’s theatre to start production and technical
rehearsals before opening the show on Friday 21 April.
Here’s one that we recently posted of the projection concept test
Mark created:
https://www.youtube.com/watch?v=nFk9jL7YTpY
All partners and team members are utilising the tour hashtags
and handles to increase engagement, anchor tour conversations
and maximise cross-over links as far as possible.
The hashtag across all platforms is #OutofThisWorld and the
handles are as follows:
Facebook page @markmurphyVTOL
Twitter @OOTW_Tour
Instagram @OOTWtour
YouTube OOTW Tour
Soundcloud markmurphyvtol
Tiffany Evans, Marketing Manager for the tour is working closely
with marketing teams from the 15 theatres taking the show,
located across England and Scotland. Weekly box office figures
are being monitored to identify what campaigns are bringing
the most response and to fine tune marketing activity. Claire
Soper, the Producer, is working with Mark and the project teams,
venues and wider partners to finalise details for each stage of
the project.
If you want to revisit Mark’s video diaries from the previous
chapters you can find them all here:
http://outofthisworldtour.co.uk/behindthescenes/
Follow the tour from page to stage!
The digital and social media campaign led by Hans de Kretser
Associates is building as we rocket towards the opening night
in four weeks’ time. A series of ten-second ‘teasers’ are posted
weekly alongside behind-the-scenes sneak peaks contributed by
the company.
And, don’t forget to check back in April, when we will have a very
special, bonus edition, chapter available for you.
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part D – Aerial
Introduction
This chapter provides further insight into key people involved in
the creation and realisation of Out Of This World. This time we
meet the Head Rigger, the person responsible for taking care of
all the aerial elements within the show.
The inclusion of aerial work within Out Of This World is a core
component. Mark wants to create a really 3-D experience where
performers and props can appear in the air, as well as on the
stage. Working with the Head Rigger will enable Mark’s vision to
turn into reality.
As we learnt in earlier chapters, Mark and his team spent a
period of time ‘projection testing’ with Cuerdas Producciones,
in Buenos Aires in April 2013. During these investigations, they
researched how to move both people and furniture through
space, and created a dynamic and visually explosive element to
the show.
See the following film clips to give you a behind the scenes look
at this research and development:
https://www.youtube.com/watch?v=W82rh8DysRM
6
Meet Out Of This World Head Rigger,
Alex Palmer:
photo: Chris Nash
What is your role in Out Of This World?
I am the Head Rigger and will also perform in the show.
What has led you to this point?
I’ve been lucky enough to work as both an actor and rigger for
many years and then began working with Mark around five years
ago.
Who have been the most influential people in your career
so far, and why?
My first Drama teacher, Robert Winston. If it hadn’t been for him
I’d never have made it into this industry. WH Murray, climber,
I read his book ‘Mountaineering in Scotland’ when I was very
young and it’s what made me want to become a climber.
Where did you study/train?
I trained as an actor at the Guildhall School of Music and Drama.
The rigging skills have mostly come from my life long obsession
with climbing and working with others in the business.
Who else have you worked with?
As a rigger, I have worked with National Theatre Scotland,
Glastonbury Big Top, Cuerda Productions, All or Nothing Aerial
Dance, 2012 Olympic shows (with Mark) amongst others. As an
actor, I have worked with many people including, Richard Eyre,
Danny Boyle, Peter Weir, Russell Crowe, and Diana Rigg.
What live productions have inspired you most, and why?
I saw the original production of De La Guarda at the Round House
in London and it literally blew me away. It made me realise what
could be achieved when aerial theatre is used to tell a story,
rather than just to show off. Another show that inspired me was
Dirty Wonderland by Frantic Assembly, a truly site specific roller
coaster!
Why are you excited about working on Out Of This World?
The opportunity to work on a show like Out Of This World is
unique really. The process that Mark brings to all his work is
inclusive, creative and very exciting. This is a job that has the
potential to create in three dimensions, using aerial systems to
further a story and take a theatre audience on a truly amazing
journey.
What advice would you give to anyone looking to pursue a
similar career to yours?
A rigger that only understands how to rig, but doesn’t understand
the creative process will not be able to fully comprehend what
it is they’re working towards. Gain experience wherever you
can, be it theatre rigging, industrial rigging or climbing, it can
all be used. Never cut corners or ‘hope for the best’. Learn the
limits of your systems and equipment and always choose the
safest possible way to accomplish an idea. Aerial theatre may
sometimes look dangerous, but it never should actually be
dangerous!
What do you think will be one of the main challenges of
this process?
Hard to say at this point as most challenges normally appear
when you least expect, but the key thing for me will be to create
aerial systems that are as versatile as Mark’s ideas. Also, it’s
always challenging taking this style of work on tour and fitting it
in to lots of different theatres and spaces.
What do you think will be one of the key highlights of this
process?
The creation process is a chance to try ideas as and when they
come up, and no matter how crazy they seem, give them the
chance to work. One of the most exciting things about using
aerial systems to tell a story is being able to bend the laws of
physics to create images that seem visually impossible to the
audience.
7
Research tasks:
a) Research other companies that create live productions using a mixture of physical disciplines such as dance, physical theatre and contemporary circus? What do you like/dislike about this blend of different physical disciplines, and why?
b)
What are the challenges associated with using a mixture of ground and aerial performers in a live production? How might these challenges alter in an outdoor location, as opposed to indoor?
Think about the audience and how their experience may alter in these different scenarios. Consider the varying opportunities and challenges for choreographing or directing movement in these different types of settings.
c) Research the following terms associated with aerial rigging, and explain their particular uses/benefits: ‘Rescue-8’, ‘Carabiner’, ‘Rigging Plate’, ‘Spanset’, ‘Beam Clamp’.
8
Creative tasks:
a) Imagine you are about to begin a gruelling day of rehearsals, which will include moving, talking and singing. Create a 30-minute warm-up that includes simple and effective exercises for the body and voice.
b)
Think about a premise for a brand-new show. Give it a title, and think about the themes of the show, who you are making it for i.e. who is your target audience, and what elements it will include (narration, live performance, special effects etc). Imagine you are calling a Programmer of a venue to sell this show to, but who has never booked or seen your work before. You have just 60 seconds to impress them. Write a short marketing pitch that will get them interested in taking your show. Think about ‘the what, the who and the why’! Practice this in pairs.
c) Using this extract from the score for Out Of This World, by composer Nathaniel Reed, to create an artistic response to what you hear. This could be writing a short script, choreographing a movement sequence, making a film or designing a set.
https://soundcloud.com/user-880395646/out-of-this-world-score-extract
9
Discussion tasks:
a) Can you think of any well-known landmarks/buildings that have been used to present shows using ground and aerial performers? Did this change your perception to those you have seen in more traditional settings, ie in a theatre, and if so, how?
b) What technical, training and health and safety considerations do you think there might there be, when creating a production like Out Of This World?
c) Discuss, or think about, how you might direct a new production (or a particular scene within) using aerial, as well as ground-based performers of one or more of the pieces of work listed below. What might the inclusion of aerial performers bring to ‘your’ production that would be hard to achieve using only ground-based performers?
‘A Linha Curva’, performed by Rambert Dance Company, choreographed by Itzik Galili:
http://www.rambert.org.uk/performances/a-linha-curva/
‘Emancipation of Expressionism’, performed by Boy Blue Entertainment, choreographed by Kenrick H2O Sandy:
http://breakinconvention.com/videos/boy-blue-entertainment-emancipation-expressionism
‘Singin’ in the Rain’, performed by Gene Kelly, choreographed by Stanley Donen and Gene Kelly:
https://www.youtube.com/watch?v=D1ZYhVpdXbQ
(section of film)
“Much Ado About Nothing’, written by William Shakespeare:
https://www.playshakespeare.com/much-ado-about-nothing/scenes/595-act-iii-scene-1
(extract of script)
‘Metamorphosis’, written by Stephen Berkoff:
http://dcarts.weebly.com/uploads/1/5/2/2/15226070/metamorphosis_extract_of_text.pdf
(extract of script)
‘The Glass Menagerie’, written by Tennessee Williams
http://genius.com/Tennessee-williams-the-glass-menagerie-scene-2-annotated
(extract of script)
10
GLOSSARY
Aerial (performance): Also commonly referred to as aerial dance,
is a subgenre of modern dance first recognised in the United
States in the 1970s. The choreography incorporates rigging
apparatus often attached to the ceiling, allowing performers to
explore space in three-dimensions. The ability to incorporate
vertical, as well as horizontal movement paths, allows for
innovations in choreography and movement vocabulary. Aerial
apparatus may include trapeze, hoop (‘circeau’), rope, silks (‘tissu’)
amongst others.
Producer: For Out Of This World, Mark has engaged a number
of different producers at different stages of the project. This
role varies from managing the overall financial and managerial
functions of the R&D / production to raising financial backing,
engaging and contracting personnel, venues and wider partners
alongside working with Mark and the entire team to ensure the
project runs to time and budget.
Programmer: A Programmer is responsible for selecting and
booking shows for a theatre / festival. Programmers often plan
eighteen months in advance, and shows will be chosen against
several different criteria including:
Contemporary Circus: Contemporary circus, or nouveau cirque
(as it was originally known in French-speaking countries), is a
genre of performing arts developed in the later 20th century in
which a story or a theme is conveyed through traditional circus
skills.
Artistic and audience development priorities – specific art forms,
styles and themes to attract target audiences; shows which
complement each other to create ‘a season’.
Head Rigger: In Out Of This World the Head Rigger is specifically
an Aerial Rigger, in charge of all the aerial rigging for the show.
Aerial rigging is a specialty within the field of rigging that deals
specifically with human loads, and involves setting up equipment
used to make humans fly, specifically aerial circus and aerial
dance equipment. The field is of critical importance, and a
thorough grasp of the principles of aerial rigging is essential in
order to ensure the safety of the artists and the audience. Most
aerial circus equipment is built by fabricators around the world
that build equipment specifically for the circus industry.
Financial – balancing the costs vs income for taking a
performance.
Technical – ensuring the technical rider for the show (stage size,
crew calls, equipment needs) is in keeping with the scale and
resources of the performance space.
In non-aerial productions the Head Rigger will have overall
responsibility for the safe installment and use of a ‘fly system’,
‘flying system’ or ‘theatrical rigging system’. This essentially
involves a system of lines (e.g. ropes), blocks (pulleys),
counterweights and other related devices within a theatre that
enables a stage crew to quickly, quietly and safely fly (hoist)
components such as curtains, lights, scenery, stage effects etc.
11
FILM GLOSSARY
21 Grams
2003 Dir: Alejandro González Iñárritu
Set in an unnamed U.S. urban centre, and with Sean Penn in the lead role, 21 Grams uses a
nonlinear structure to piece together the intertwined lives of three very different people.
Alien
1979 Dir: Ridley Scott
A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades
a spacecraft in this sci-fi horror classic. Sigourney Weaver plays the main role of Ellen
Ripley.
Three Colours Blue
1993 Dir: Krzysztof Kieslowski
The first chapter in this Polish filmmaker’s ‘Three Colors’ trilogy. ‘Blue’ stars Juliette Binoche
as Julie, the lone survivor of an automobile crash that killed her husband, a famed composer,
and their only child.
Inland Empire
2006 Dir: David Lynch
Starring Jeremy Irons as Kingsley, this dark mystery, shot on a handheld Sony PD150 digital
video recorder, is the tale of an actress whose personality becomes increasingly fragmented
as she delves ever deeper into her work for a high-profile filmmaker.
Gravity
2003 Dir Alfonso Cuaron
Stars Sandra Bullock as Dr. Ryan Stone, a scientist on a space shuttle mission headed by
astronaut Matt Kowalsky (George Clooney), a talkative, charismatic leader full of colourful
stories that he shares with his crewmates as well as mission control.
FILM SOURCES
http://www.aqa.org.uk
http://www.allmovie.com
http://www.equity.org.uk
https://en.wikipedia.org
12
OUT OF THIS WORLD SUPPORTING INFORMATION
UK Tour 2017
Fri 21 & Sat 22 April, 7.30pm Tue 25 & Wed 26 April, 7.30pm Fri 28 April, 7.30pm Mon 1–Wed 3 May, 7.30pm Fri 5 May, 7.30pm Tue 9 May, 7.30pm Fri 12 & Sat 13 May, 8pm Tue 16 & Wed 17 May, 8pm Fri 19 & Sat 20 May, 7.30pm Tue 23 & Wed 24 May, 7.30pm Fri 26 & Sat 27 May, 7.30pm Tue 30 & Wed 31 May, 8pm Fri 2 June, 8pm Tue 6 & Wed 7 June, 7.30pm Fri 9 & Sat 10 June, 7.30pm Macrobert Arts Centre, Stirling Warwick Arts Centre, Coventry Cast, Doncaster Peacock Theatre, London Gulbenkian, Canterbury Grand Theatre, Blackpool Nottingham Playhouse Eden Court, Inverness Tramway, Glasgow Edinburgh Festival Theatre Northern Stage, Newcastle The Lowry, Salford Quays G Live, Guildford Oxford Playhouse Hall for Cornwall, Truro 01786 466666 024 7652 4524 01302 303959 020 7863 8222 01227 769075 01253 290190 0115 941 9419 01463 234234 0845 330 3501 0131 529 6000 0191 230 5151 0843 208 6000 01483 369350 01865 305305 01872 262466 www.macrobertartscentre.org
www.warwickartscentre.co.uk
www.castindoncaster.com
www.sadlerswells.com
www.thegulbenkian.co.uk
www.blackpoolgrand.co.uk
www.nottinghamplayhouse.co.uk
www.eden-court.co.uk
www.tramway.org
www.edtheatres.com/festival
www.northernstage.co.uk
www.thelowry.com
www.glive.co.uk
www.oxfordplayhouse.com
www.hallforcornwall.co.uk
Running time 80 minutes with no interval
Suitable ages 14+
Contains strobe lighting, smoke effects and strong language
Company Led Workshops
For dance, theatre and performing arts students, suitable for all
abilities and ages 14+.
Up to 2 hours: £250 + VAT
Workshops will create a highly stimulating, provocative
and mischievous environment and act as a catalyst for the
participants’ own artistic expression.
Based on the often-asked question, “Where do you get your
ideas from?”, Stage 1 of the workshop will include a physical
warm-up and creative tasks aimed at supporting ideas
generation. Drawing upon examples and case studies from Mark
Murphy’s work, and other devisers and producers in theatre, film
and literature, this section also touches on elements of structure
and story design.
Stage 2 of the workshop involves putting theory into practice,
understanding the value of constructive appraisal within a
creative process. Group work and sharing of ‘work in progress’
alongside guided group critique will enable participants to view
one another’s contributions through a more liberating lens,
enabling positive revision and development of their work. Time
permitting the workshop will end with a Q&A session.
Limited availability. For more information, or to book a workshop
please contact [email protected]
CREDITS
Funded by the National Lottery through Arts Council England and Creative Scotland, The Foyle Foundation, Jerwood Charitable
Foundation and Garfield WestonFoundation. Commissioned by Macrobert Arts Centre, Sadler’s Wells London, Dance Touring
Partnership, ART31 KENT, Warwick Arts Centre and Triggered at Warwick. Supported by Cold Mountain Kit, Bluman Associates, tube,
Cuerda Producciones, All or Nothing and Beaconhurst School.
Resource pack written by Hannah Osmond www.hannahosmond.co.uk, in collaboration with Out Of This World creator Mark Murphy
Design by Andrew Lang www.anglepd.co.uk
Photography by Chris Nash and Mark Murphy
WWW.OUTOFTHISWORLDTOUR.CO.UK