RESOURCE PACK 2016–2017
CHAPTER 4
CONTENTS
RESOURCE PACK SUPPORTING INFORMATION
3
MARK MURPHY – IN CONVERSATION
4
LIVE UPDATE
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part C – Choreography and Movement
Meet Out Of This World performer, Catherine Cusack
Meet Out Of This World Associate Director, EJ Boyle
Research Tasks (movement/choreographic focus)
Creative Tasks (movement/choreographic focus)
Discussion Tasks (movement/choreographic focus)
GLOSSARY & SOURCES
6
7
8
9
10
11
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…
•Tutors should make a note of the release date for the remaining chapter of the resource pack: 20.03.17, plus, there will be a very special bonus chapter available in April 2017 – more details to follow nearer the time
. . . What might you do differently if you were directing
and producing this show?
•Each chapter will be downloadable from the following link www.outofthisworldtour.co.uk/resources
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.
•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)
•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
This is the fourth of five monthly instalments (‘chapters’), which
are being released between now and March 2017, providing an
invaluable learning opportunity for anyone with a passion for
performance and creativity.
•Users will be kept up to date with details about the tour throughout.
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
How did you first become interested in making theatre?
“I grew up in Peterborough and went to a big comprehensive
school. The saving grace for me was two teachers – Pete and
Rowena Hayward, a husband and wife, who taught Fine Art and
Dance at the school, way before it was even on the curriculum. I
was the odd boy at that school really, because I was that sports
obsessed, rugby playing, expressive arts, dancer! I would be
making shows after school with this husband and wife, alongside
a group of like-minded students. We’d be making stuff where
we’d be building stuff and making projections, and it was kind
of dance, but it was kind of art, and kind of drama as well. So
we were making hybrid shows that weren’t your typical school
productions, it was devised work with shared creativity around
the group. The other brilliant thing this pair of teachers did was
to raise a lot of money to get a dance-theatre space built at the
school, to which they then invited people to come and perform
at. So we had real trailblazers from that time who came to our
school and work with us. We had Laurie Booth, Katie Duck,
Extemporary, for example, all these fantastic, avant-garde
performers coming to work with us.
Who have been your biggest inspirations?
“There are two people that have been constant. When I was
about 19 years old, during the same week, I went to see the
film Blue Velvet, and I went to watch Nick Cave and the Bad
Seeds perform. Both David Lynch, (who directed Blue Velvet),
and Nick Cave have remained my two inspirational artists, and
are a constant reference point for me and my work. The most
incredible thing is that they are still producing work, and they
continue to get better and better.”
If you could look back to your 19-year old self, just as you
were beginning to be influenced by the things you saw and
heard, what advice would you offer?
“Just keep doing. Don’t wait for inspiration. Don’t think anybody
else is going to help you particularly. Just find a way to sustain
the fire yourself and then hopefully that will attract other people
to it. There’s no romance to it for me, there’s just work. But the
fact is I absolutely love the work, but it’s hard. There’s a massive
amount of sacrifice involved, but the price paid is worth it. I
spend most of my time in my shed on the verge of tears banging
my head against this wall, and then after a while, this wall says,
‘now go and bang your head on that wall over there’, and I have a
little breakthrough, but it’s really, really tough. Especially writing
scripts on your own. It can be demoralising, but then occasionally
something will happen and you think ‘I just sparked electricity – I
just made fire!’ And then of course that feeling goes again but
that’s why it’s so addictive – it is worth it for those moments
because you feel you have just created life.”
I did a workshop when I was about 16 or 17 years old, and
afterwards one of the professional dancers asked if I had
ever thought about going to ‘train’. I had no idea what he was
talking about, and didn’t even know such a thing as a dance
college existed! I was all set to go and do a Foundation course
in Painting, but thanks to a simple enquiry and a whole load of
support my path changed, and I ended up going to train at a
vocational college in London, now known as Trinity Laban. I had
never done a formal dance class in my life, but I think what Laban
saw in me was a runaway creative spirit.”
4
LIVE UPDATE
Video diary Mark Murphy – the Director’s insight:
https://vimeo.com/204600375
Over the past few weeks Mark has been refining the script. Feedback from close friends,
collaborators and associates is being used to further hone intention, meaning and the
potential audience-interest in the storyline and characters.
The composer and designer have begun working on first drafts of sound scores, set and
costumes.
Promotion via the various press releases and social media channels has been working
hard to gather interest in the production, and venues have begun marketing the show in
earnest.
Mark is busy not only on finishing the script, but also on beginning to create projection
content for the show.
Website: www.outofthisworldtour.co.uk
Twitter: www.twitter.com/OOTW_Tour
Instagram: www.instagram.com/ootwtour
YouTube: www.outofthisworldtour.co.uk/youtube
Facebook: www.facebook.com/markmurphyVTOL
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part C – Choreography and Movement
Later, in this chapter you will be charged with putting yourself
into the shoes of Mark and EJ, as you explore a number of
creative tasks.
Introduction
The aim of this chapter is to provide an insight into the people
involved in the creation and realisation of the movement
content of a performance like this. We will look at who it is that
is responsible for choreographing and directing the performers in
the space. We will also meet one of the performers from Out of
This World.
Out Of This World has been six years in research and
development. Mark has gathered influences and ideas from many
different people, and places, during this time. He explains how he
brings this broad set of inspirations together to inform the final
script:
“David Lynch said, ‘To make the script, you need ideas, and for me
a lot of times, a final script is made up of many fragments of ideas
that came at different times’. Through considered choreography
and direction these small fragments are brought to life in a way
that enables one aspect to support another, and so on.”
Choreography & Direction:
We often think of choreography being specifically a dance
term. However, it is much broader. It can be understood as
the art or practice of designing sequences of movements for
physical bodies (or their depictions) in which motion and form, or
both, are specified. Choreography may also refer to the design
itself. Choreography is used in a variety of fields, including
as examples, musical theatre, cheerleading, cinematography,
gymnastics, fashion shows, ice skating, synchronised swimming,
cardistry, video game production and animated art. It is useful to
understand the variety of situations that ‘choreography’ can be
applied to when we think about Out Of This World. Director, Mark
Murphy, is very clear Out Of This World is not Dance, though
dancing may appear in the show. The aerial skills employed
by some of the performers in the show require direction, and
a choreographic process that underpins these sections of the
show. However, choreographic tools and techniques are utilised
across all aspects in a production of this nature. Through careful
direction and planning, the various elements – sound, set,
costume, projection, narration, movement – are all conceived,
designed and rehearsed, to work together.
A number of choreographic devices can be used by directors
and/or choreographers, such as the use of dynamics, motif and
development, repetition, retrograde, contrast, transitions
and highlights. These tools are used to help deliver intention,
meaning, and to assist with conveying a particular story and/
or emotion to an audience. Often building towards a climax.
They are considered in context to other elements like the aural
setting and physical space. If these terms are unfamiliar to
you more detailed explanations can be found in the Glossary.
If you look at the list of creatives working on the production of
Out Of This World you will note that there is not a specific role
assigned to a Choreographer. The task of designing sequences
of movements (both of physical bodies, and that of flying
objects, chairs and tables), falls to several different collaborators
including EJ Boyle, the Associate Director who is working closely
with Mark [Writer/Director/Designer].
6
Meet Out Of This World performer,
Catherine Cusack:
photo: Ruth Crafer
What is your role in Out Of This World?
An acting role, playing a neurosurgeon, and other quite surreal
parts as required. Not sure what her name is yet! Much to
discover.
What has led you to this point?
Through my husband I’ve come to know Mark Murphy and see
and very much admire his work. He’s now seen several shows
I’ve been in and offered me a part. Am delighted to be working
with him.
Who have been the most influential people in your career
so far, and why?
It would probably start with my father, who was an actor, and
introduced me to theatre in the first place. Other actors I admire,
and whose style I like, include Eileen Atkins (to hear her do
Shakespeare is revelatory), Mark Rylance, and I remember seeing
Toby Jones years ago giving an absolutely brilliant performance
in The Servant of Two Masters. He (Toby) trained at Lecoq and his
sense of physical (but truthful) comedy was inspiring. I worked
with Sarah Kane in the 1990s, directed by her in her own work,
and that was a fantastic experience.
Where did you study/train?
I started, but didn’t finish a Drama degree at Royal Holloway; I
got the opportunity to work, initially as an Acting Assistant Stage
Manager at Tricycle Theatre (don’t think this exists anymore!) and
one thing led to another, so I guess I learned on the job. I was
lucky enough to work with Shared Experience early on, which
was a huge learning curve regarding more physical theatre.
What live productions have inspired you most, and why?
‘The Seven Streams Of The River Ota’ by Robert Lepage, made
me think the possibilities of how to make theatre were limitless,
‘Black Watch’, recently Ma Rainey’s ‘Black Bottom at the
Royal National Theatre, ‘The Encounter’ with Simon McBurney
(watched on the Guardian website).
Who else have you worked with?
I’ve been doing this for a while but amongst others, I’ve enjoyed
working at the Arcola, the Lyric Belfast, with Eileen Atkins and
Michael Gambon on a Beckett play that went to New York, and
also with my husband creating our own work.
What advice would you give to anyone looking to pursue a
similar career to yours?
This is a difficult one. The changes I’ve seen in the last 20 years
would probably put me off now! But that’s me. I think you just
have to be tough. Not take the knock backs too personally.
Sometimes you’re just not who they are looking for. I would
think drama schools are a pretty vital (if expensive) springboard
these days. And there are lots of positives now, there seem to
be more chances to work in United States TV, to write or create
your own work (I’m thinking of the series that get commissioned
on British TV). I think there’s a tougher commercial edge to the
business now, and apart from the big shows, theatre isn’t a huge
money spinner but it’s still amazing to be in the same room and
share ideas and visions live of an evening! Either as an actor or a
spectator. I think what can get you through, is a firm knowledge
from the outset of what you want to do.
Why are you excited about working on Out Of This World?
To work with Mark, my husband Alex Palmer, (Head Rigger for
this production), and to tackle the huge challenge that the story
and Mark’s imagination will throw up.
What do you think will be one of the main challenges of
this process?
The sheer hard work! Physical, imaginative, just maintaining
stamina.
What do you think will be one of the key highlights of this
process?
The challenge of working outside my comfort zone; I’ve mainly
been involved in text based work, so it’s always exciting to be
part of creating theatre in a different way, and it might involve
less line learning!
7
Meet Out Of This World Associate
Director, EJ Boyle:
photo: Wolf Marloh
What is your role in Out Of this World?
I am Associate Director.
What has led you to this point?
A training in dance, followed by a career in performance, and
then a move into choreography which led me to meet and
work with Mark Murphy as his choreographer on the Closing
Ceremony of the 2014 Commonwealth Games, and a few more
collaborations later, to here on Out Of This World.
What do you think will be one of the key highlights of this
process?
Making a new, multi-disciplinary, unusual and exciting piece of
theatre.
Where did you study/train?
I trained in classical ballet at the Dance School of Scotland
and Senior Associates of The Royal Ballet School, and then in
contemporary and jazz at London Studio Centre and in New York
with Suzi Taylor.
Who have been the most influential people in your career
so far, and why?
Suzi Taylor for teaching me, among many things, how to
connect technique and emotion as a dancer. Stephen Mear for
demonstrating how important humanity and work ethic are
alongside talent. Andrew Panton and Philip Howard for having
faith in me creatively long before I did.
Who else have you worked with?
As a performer I have worked with Matthew Bourne’s New
Adventures, The Royal Shakespeare Company, and with Rufus
Norris on his West End production of Cabaret.
As a Choreographer I have worked extensively at the Citizens
Theatre, Dundee Rep, the Royal Lyceum and the Edinburgh
International Festival, and most recently with Stephen Daldry on
The Netflix series ‘The Crown’.
What live productions have inspired you most, and why?
‘The Strange UnDoing of Prudencia Hart’ by National Theatre of
Scotland, ‘Sleep No More’ by Punchdrunk, ‘Enron’ by Headlong.
All of which used physical ways of telling stories that at the time
of seeing them were incredibly different to anything I had seen
before.
Why are you excited about working on Out Of This World?
Where to start. Collaborating with the brilliant creative team and
cast.
Getting inside Mark Murphy’s head and being inspired and
challenged (and slightly scared).
Spending time making theatre with dear friends and calling it
work.
What advice would you give to anyone looking to pursue a
similar career to yours?
Work incredibly hard at learning your craft and deciding what
kind of artist and colleague you want to be. Then go and learn
about life and come back to the art stuff later.
What do you think will be one of the main challenges of
this process?
I think having limited time to explore the many avenues we could
go down in terms of ways of telling the story will be a challenge
and a helpful restraint!
8
Research tasks (movement/choreographic focus):
a)
Using the content of the Out Of This World tour website, including viewing the teaser film on ‘The Show’ page, research what you feel the different physical influences behind the show may be. Explain how do you feel when you watch the teaser film? List all the various elements that would need to be considered by the Director when bringing a show like this to the stage e.g. lighting, sound, movement of props/furniture/people through space etc.
b) Research other companies that use a mixture of live performance and pre-recorded film projection? What do you think the challenges and opportunities might be as a Director/Choreographer in using these two elements together?
9
Creative tasks (movement/choreographic focus):
a) Think about what movement style, physical dynamics and choreographic devices you might direct your performers to use based on what you have learned about Out Of This World so far in Chapters 1 – 3.
b)
Create your own short choreographed sequence that includes an interplay between human performers and physical props in the space. (A prop, formally known as ‘theatrical property’, is an object used on stage or on screen by actors during a performance or screen production. In practical terms, a prop is considered to be anything movable or portable on a stage or a set, distinct from the actors, scenery, costumes, and electrical equipment.)
10
Discussion tasks (movement/choreographic focus):
a) Discuss, or think about, how you might direct a new production of one or more of these pieces of work, (or a particular scene within it), using pre-recorded film projection, as well as live performers. What might the film-projection bring to the performance that would be hard to achieve using only live 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)
11
GLOSSARY
Aural setting: The audio/heard accompaniment that a director/
producer/choreographer chooses to use within their show/
production.
Motif & Development: A movement phrase encapsulating an
idea that is repeated and developed. And the ways in which that
phrase can then be varied.
Choreographer: A person who composes the sequence of steps
and moves for a performance (including specifically for dance, but
not exclusively).
Physical space/setting: Where the performance takes place,
and what different constituents make up that space.
Repetition: a choreographic device in which movements or
motifs are repeated
Choreographic devices: Methods used to develop and vary
material and mood.
Retrograde: a choreographic device whereby movements or a
motif are performed backwards (like a rewound video).
Climax: The most significant moment of the dance (or story or
film etc).
Transitions: Links between phrases or sections.
Contrast: The use of a movements or shapes that have nothing
in common.
Dynamics: The qualities of movement based upon variations in
speed, strength and flow.
SOURCES
http://www.aqa.org.uk
https://www.brainyquote.com
https://en.oxforddictionaries.com
https://en.wikipedia.org
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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