Hey guys,
The following is my finalized plan for the first vignette. I added all the numberings that were lacking in the previous version and I believe the general idea is more concrete than before. All that remains is the actual instructions, which I shall complete tomorrow – I would have finished them off right now but I am ridiculously tired. Mike, Whitney, and Kyle have finished their respective parts and I believe they have already sent out their finished products to the sound crew – perhaps they shall upload them sometime in the near future. Enjoy!
Ian Gerald King
Ian’s Choreography: Vignette of Isolation
Choreography for the SJ2:BED project
Context
- This is the first main portion of themed choreography, following the introductory sequence.
- The order of choreography will be: (1) Ian’s Isolation, (2) Mike’s Restraint, (3) Whitney’s Dinner Party, (4) Kyle’s Tree & Well, and (5) Chu’s Lovers.
- Simply stated, the mood of the unified piece progresses from stark loneliness to a gradual immersion into the social sphere. Perhaps the music group can play on this quality to emphasize the moods that the participants should try to convey.
Players:
- There are 6 individuals, and the following is a list of the special roles they fulfill throughout the 5 vignettes:
#1 – the bedridden and isolated protagonist
#2 – shares the bed with #1 in the first and third vignette
#3 – killer in the third vignette, lover in the fifth vignette
#4 – doctor in the second vignette
#5 – first twin, has a special role in the introductory sequence
#6 – second twin
*Note: I cannot provide accurate estimates of how long each portion will take since I am not sure of the exact time it will take for one to walk the distances described below.
General Choreography
Scene 1
- The bed is situated upstage, house right
- #1 lies in the bed while #2, #3, #4, #5, and #6 surround the bed from its exposed side. #2 is in the center with #3 on his left side and #5 on his right; #4 is to the left of #3 and #6 is to the right of #5.
- After 10 seconds, the group of onlookers walk diagonally down-stage house left and conglomerate in a pentagonal formation, with the base facing down-stage and the point facing up-stage.
- If you are to imagine the pentagon as a human body, lying face up, with feet down-stage and the head up-stage, then the following shall be their positions: #2 is the right leg, #5 is the left leg, #3 is the right arm, #6 is the right arm, and #4 is the head.
- #2, #3, #4, #5, and #6 are all ‘conversing’ (instructed to move their mouths and make gestures with their body). The general mood is pomposity.
- Meanwhile, as all this is taking place #1 has been rolling around violently from side to side in his bed. Several seconds after the main group begins the ‘conversation,’ #1 stops rolling around and lays still for 5 seconds.
- #1 lowers the blanket to his waist, sits up and points at the group of adults with his right arm.
- When #1 points at the group, the group is instructed to freeze into a tableau and #1 does likewise. Hold for 10 seconds and then commence Scene 2.
Scene 2
- #1 lowers his pointing arm, gets out of bed and begins walking in a straight line down-stage. Once reaching the periphery of the stage, #1 turns stage right and begins walking towards the conversing group.
- #1 will be instructed to move along in a slow and sombre manner (melancholic music would help to set the mood). Hands held behind his back, head looking towards the floor, feet dragging, and overall depression permeating.
- Throughout the duration of #1’s progress towards the group, #2, #3, #4, #5, and #6 should be maintaining spontaneous and natural interaction. Some hugs here, some laughs there, and a general comfortable atmosphere should persist. They should appear as though they have known each other for years.
- When #1 approached the group he taps the shoulder of the closest member (either #5 or #6, but it doesn’t matter since they’re the twins) he comes into contact with. When the tap occurs, the individual being tapped freezes into a tableau. #2, #3, and #4 will be instructed to freeze as soon as they see #5 or #6 freeze.
- Perplexed at this phenomena, #1’s depression turns into frustration and anxiety. Proceed to Scene 3.
Scene 3
- Frustrated, yet entirely curious as to the nature of the phenomena presented before him, #1 begins walking counter clockwise around the group. #1 commences by tapping #6 on the left shoulder and receives no reply. Then, #1 steps lightly on #4’s left foot, but receives no reply. Next, #1 touches the head of #3 and/or passes his hands through #3’s hair yet without reply. Subsequently, #1 places his left hand on the right shoulder of #2 and attempts to shake him, but no reply is made. Finally, #1 gets to #5 and does nothing physical. #1 walks into the center of the pentagon and stares #5 straight in the face for 5 seconds. Immediately, #1 breaks down in the center, curls up into a foetal position, on his left side, and faces the general direction of his bed.
- As he walks around them he pokes and taps them as if they were statues – frustration increases as he comes closer to the point of origin from where the circuitous route began. Once #1 reaches his point of origin, the frustration turns back into depression.
Scene 4
- 5 seconds after #1 lies on the floor, #2, #3, #4, #5, and #6 unfreeze and begin to end their get-together.
- #5 shakes hands with #6, while #3 shakes hands with #4, mean while #2 is left out
- #2 crosses his arms turns 180° and bows his head in sadness. Stays like this until the two pairs begin to leave.
- As they shake hands, and wave, the two pairs (#3 & #4 #5 & #6) are completely ignorant of the child laying on the floor between them, as their eyes should never look down. Also they don’t notice the rejected #2 standing dismally by himself.
The group breaks then begin to occur:
- When the pairs begin to move, #2 stays in his location, keeps his eyes fixed on the floor, uncrosses his arms, and gets down on his left knee. He/She should begin to assume a pondering position. More specifically, left knee down, right knee up, right elbow resting on right knee, chin resting on right clenched fist, head slightly tilted to the right, and looking ponderously into space. (Reflecting on his solitude).
- #5 & #6 walk several steps past the center of the stage and face the house right wall with their right sides exposed to the audience. #5 will rest his left arm on #6’s right shoulder and when that occurs, both shall freeze into a tableau.
- #4 takes 2 broad steps forward, followed by #3 taking 3 steps forward (or however many necessary to be perfectly in-line with #4). Both #4 & #3 face the house right wall and take 4 steps forward. After the fourth step, both turn 90° to their left and face the up-stage wall. #4 puts his left hand on the right shoulder of #3and uses his right hand to point directly in front of him at a 120° angle to his body (pointing to the horizon). #3 looks in the direction of the pointing finger and then both freeze into a tableau.
- Overall, the two groups should display a sense of togetherness, which #1 so greatly desires.
- 5 seconds after the adults have frozen into their tableaus, the child gets up and begins Scene 5.
Scene 5
- No longer depressed or frustrated, #1 should exude a general air of indifference. The music playing for him should be upbeat, but casually so.
- First, #1 observes #2 curiously as #2 continues to ponder. #1 reaches out to touch #2, but hesitates and then retracts his hand.
- #1 then walks up to #3 & #4, from behind and tries to see what #4 is pointing at. #1 stares for 5 seconds.
- Next, #1 walks up to #5 & #6 and rests his left arm on #6’s right shoulder and holds it there for 5 seconds. During this time, #1 is trying to make out what the two are looking at, but then decidedly gives up.
- #1 should resemble someone at a wax museum, imitating the poses he’s witnessing.
- Finally, #1 walks towards his bed, and rolls over on his left side. The position should be, for a lack of a better term, “semi-foetal” as #1 faces away from the audience. Scene 6 then gets underway.
Scene 6
- 5 seconds after #1 falls ‘asleep’ (lies down on his left side in the semi-foetal position), the pondering #2 stands up, turns around and walks directly towards the #1’s bed. The walking motion should be confident, imbued with purpose, and with a moderate speed.
- #2 lies down back to back with #1, although in an inverse position: #2’s feet are at #1’s head while #2’s head is at #1’s feet; #2’s face is towards the audience, whereas the #1’s is away from the audience.
The End – transition to Mike’s vignette of Restraint.The following is my finalized plan for the first vignette. I added all the numberings that were lacking in the previous version and I believe the general idea is more concrete than before. All that remains is the actual instructions, which I shall complete tomorrow – I would have finished them off right now but I am ridiculously tired. Mike, Whitney, and Kyle have finished their respective parts and I believe they have already sent out their finished products to the sound crew – perhaps they shall upload them sometime in the near future. Enjoy!
Ian Gerald King
Ian’s Choreography: Vignette of Isolation
Choreography for the SJ2:BED project
Context
- This is the first main portion of themed choreography, following the introductory sequence.
- The order of choreography will be: (1) Ian’s Isolation, (2) Mike’s Restraint, (3) Whitney’s Dinner Party, (4) Kyle’s Tree & Well, and (5) Chu’s Lovers.
- Simply stated, the mood of the unified piece progresses from stark loneliness to a gradual immersion into the social sphere. Perhaps the music group can play on this quality to emphasize the moods that the participants should try to convey.
Players:
- There are 6 individuals, and the following is a list of the special roles they fulfill throughout the 5 vignettes:
#1 – the bedridden and isolated protagonist
#2 – shares the bed with #1 in the first and third vignette
#3 – killer in the third vignette, lover in the fifth vignette
#4 – doctor in the second vignette
#5 – first twin, has a special role in the introductory sequence
#6 – second twin
*Note: I cannot provide accurate estimates of how long each portion will take since I am not sure of the exact time it will take for one to walk the distances described below.
General Choreography
Scene 1
- The bed is situated upstage, house right- #1 lies in the bed while #2, #3, #4, #5, and #6 surround the bed from its exposed side. #2 is in the center with #3 on his left side and #5 on his right; #4 is to the left of #3 and #6 is to the right of #5.
- After 10 seconds, the group of onlookers walk diagonally down-stage house left and conglomerate in a pentagonal formation, with the base facing down-stage and the point facing up-stage.
- If you are to imagine the pentagon as a human body, lying face up, with feet down-stage and the head up-stage, then the following shall be their positions: #2 is the right leg, #5 is the left leg, #3 is the right arm, #6 is the right arm, and #4 is the head.
- #2, #3, #4, #5, and #6 are all ‘conversing’ (instructed to move their mouths and make gestures with their body). The general mood is pomposity.
- Meanwhile, as all this is taking place #1 has been rolling around violently from side to side in his bed. Several seconds after the main group begins the ‘conversation,’ #1 stops rolling around and lays still for 5 seconds.
- #1 lowers the blanket to his waist, sits up and points at the group of adults with his right arm.
- When #1 points at the group, the group is instructed to freeze into a tableau and #1 does likewise. Hold for 10 seconds and then commence Scene 2.
Scene 2
- #1 lowers his pointing arm, gets out of bed and begins walking in a straight line down-stage. Once reaching the periphery of the stage, #1 turns stage right and begins walking towards the conversing group.- #1 will be instructed to move along in a slow and sombre manner (melancholic music would help to set the mood). Hands held behind his back, head looking towards the floor, feet dragging, and overall depression permeating.
- Throughout the duration of #1’s progress towards the group, #2, #3, #4, #5, and #6 should be maintaining spontaneous and natural interaction. Some hugs here, some laughs there, and a general comfortable atmosphere should persist. They should appear as though they have known each other for years.
- When #1 approached the group he taps the shoulder of the closest member (either #5 or #6, but it doesn’t matter since they’re the twins) he comes into contact with. When the tap occurs, the individual being tapped freezes into a tableau. #2, #3, and #4 will be instructed to freeze as soon as they see #5 or #6 freeze.
- Perplexed at this phenomena, #1’s depression turns into frustration and anxiety. Proceed to Scene 3.
Scene 3
- Frustrated, yet entirely curious as to the nature of the phenomena presented before him, #1 begins walking counter clockwise around the group. #1 commences by tapping #6 on the left shoulder and receives no reply. Then, #1 steps lightly on #4’s left foot, but receives no reply. Next, #1 touches the head of #3 and/or passes his hands through #3’s hair yet without reply. Subsequently, #1 places his left hand on the right shoulder of #2 and attempts to shake him, but no reply is made. Finally, #1 gets to #5 and does nothing physical. #1 walks into the center of the pentagon and stares #5 straight in the face for 5 seconds. Immediately, #1 breaks down in the center, curls up into a foetal position, on his left side, and faces the general direction of his bed.- As he walks around them he pokes and taps them as if they were statues – frustration increases as he comes closer to the point of origin from where the circuitous route began. Once #1 reaches his point of origin, the frustration turns back into depression.
Scene 4
- 5 seconds after #1 lies on the floor, #2, #3, #4, #5, and #6 unfreeze and begin to end their get-together.- #5 shakes hands with #6, while #3 shakes hands with #4, mean while #2 is left out
- #2 crosses his arms turns 180° and bows his head in sadness. Stays like this until the two pairs begin to leave.
- As they shake hands, and wave, the two pairs (#3 & #4 #5 & #6) are completely ignorant of the child laying on the floor between them, as their eyes should never look down. Also they don’t notice the rejected #2 standing dismally by himself.
The group breaks then begin to occur:
- When the pairs begin to move, #2 stays in his location, keeps his eyes fixed on the floor, uncrosses his arms, and gets down on his left knee. He/She should begin to assume a pondering position. More specifically, left knee down, right knee up, right elbow resting on right knee, chin resting on right clenched fist, head slightly tilted to the right, and looking ponderously into space. (Reflecting on his solitude).
- #5 & #6 walk several steps past the center of the stage and face the house right wall with their right sides exposed to the audience. #5 will rest his left arm on #6’s right shoulder and when that occurs, both shall freeze into a tableau.
- #4 takes 2 broad steps forward, followed by #3 taking 3 steps forward (or however many necessary to be perfectly in-line with #4). Both #4 & #3 face the house right wall and take 4 steps forward. After the fourth step, both turn 90° to their left and face the up-stage wall. #4 puts his left hand on the right shoulder of #3and uses his right hand to point directly in front of him at a 120° angle to his body (pointing to the horizon). #3 looks in the direction of the pointing finger and then both freeze into a tableau.
- Overall, the two groups should display a sense of togetherness, which #1 so greatly desires.
- 5 seconds after the adults have frozen into their tableaus, the child gets up and begins Scene 5.
Scene 5
- No longer depressed or frustrated, #1 should exude a general air of indifference. The music playing for him should be upbeat, but casually so.- First, #1 observes #2 curiously as #2 continues to ponder. #1 reaches out to touch #2, but hesitates and then retracts his hand.
- #1 then walks up to #3 & #4, from behind and tries to see what #4 is pointing at. #1 stares for 5 seconds.
- Next, #1 walks up to #5 & #6 and rests his left arm on #6’s right shoulder and holds it there for 5 seconds. During this time, #1 is trying to make out what the two are looking at, but then decidedly gives up.
- #1 should resemble someone at a wax museum, imitating the poses he’s witnessing.
- Finally, #1 walks towards his bed, and rolls over on his left side. The position should be, for a lack of a better term, “semi-foetal” as #1 faces away from the audience. Scene 6 then gets underway.
Scene 6
- 5 seconds after #1 falls ‘asleep’ (lies down on his left side in the semi-foetal position), the pondering #2 stands up, turns around and walks directly towards the #1’s bed. The walking motion should be confident, imbued with purpose, and with a moderate speed.- #2 lies down back to back with #1, although in an inverse position: #2’s feet are at #1’s head while #2’s head is at #1’s feet; #2’s face is towards the audience, whereas the #1’s is away from the audience.
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