As I mentioned in my last post, the section in the Chorus choreography with Ismene was very ropy and pretty slow. Therefore, we spent the lesson working who was doing what in which cast and how to do it quickly. Previously, I had been taking over Caitlin's job when she was Antigone or Eurydice's but that was pretty confusing so we decided that the Antigone's would rotate Antigone, Eurydice and Stirrup lifter, so my role is creepy hands on back, mob-walking around Ismene then catching her as she drops. Must say, only having one role is far simpler and easier for my easily confused brain.
Attempting to remedy the slow moving 'tumbril' sequence, we reduced the number of people carrying her as we carry her around in a 360, with one person (Harriet) supporting most of the weight on her shoulder and pivoting on the spot. This made it not only faster, but looked slicker. Furthermore, it provided an opportunity for shielding the mechanics of the move and creating a mob-like feeling through making the rest of the cast who normally help spin create a counter-circle (meant to be angry and mob-like though that rough aspect needs some practice in my opinion, myself included) however, a build up of people meant it took too long for me and Sarah to do the full circle and create the landing for Ismene so instead we stayed in front of the 'tumbril' thing looking angry and stuff to hide the mechanics so that we were ready for a swift change into the flip.
So basically, my role as stirrup/catcher and mob walker has now been reduced to Mob stander and catcher all the time. Whoop! Much simpler for my small brain. Thank God, I had images in my head of forgetting which Antigone night I was meant to do each role and Ismene just ending up on the floor.
Another problem which arose was the problem with Ismene talking whilst upside down or something (I wasn't too clear on the issue) but in summary, there would be silences, therefore we decided to introduce an idea of the mob whispering harsh, violent comments at Antigone such as "Die traitor, you betrayed" or such like, I end up just muttering "Die traitor" again and again because my brain likes to deprive me of any further vocabulary for the duration of the scene, but it seems to work because the effect is the whole mub 'hissing' violent sentiments and I think "Die Traitor" whilst not very imaginative or sophisticated does serve that purpose.
We tried the scene without whispering and then with the whispering videoing each example:
(In these videos you can see that I walk all around Ismene which means it's a bit laboured getting into position, by the end of the rehearsal me and Sarah had changed to standing in front)
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