Plethu/Weave: Week Two
Questioning . . .
Croeso (Welcome) to week two of my Plethu creation period!
Plethu/Weave is a poetry and dance cross-artform collaboration.
My poet partner, Alex Wharton, has been busy not only writing his poem for this commission but also with his new book coming out.
So, I decided to wait until I received the full poem and voice recording before I created any set movement material.
The Filming. . .
I’ve gotten the word triptych (Greek for ‘three-fold’) in my head and it will not leave. I’ve decided that I want this film to have three separate pictures being shown simultaneously. (see amateur sketch)
On Tuesday, I met with the film editor, Jonathan Dunn, (via Zoom) and his teeny tiny 10 week old baby came along. He offered so much valuable feedback, support, and challenges. I’ve sent him the script so that even before the edit he has a really clear picture of what I’d like for the film.
It’s so important that all members of the creative team are clear about the plan and concept as soon as possible.
So, how do I use all three sections of the screen in a way that shares the complexity of the story? This story of love and hate between humans and nature. How do I depict the strain and the harmony between us?
And who am I, as a character, within this work?
The questions never stop.
Throughout a creation process I must have pen and paper nearby - constantly. Whether that’s a bank statement or a notebook, it’s all fair game while creating. . .
And I ask myself a series of unending questions:
‘What is my personal story within the broader theme?’
“Make sure it’s serving a purpose.”
‘Who is the camera? Friend? Curious onlooker?’
‘Nature looking in on me?’
‘How can I use the movement of the camera to tell a story?’
‘Is it important to share myself somehow?’
“What is the purpose of having three screens instead of one?”
My goal isn’t always to answer every question, but to ensure I ask the questions in the first place. It’s so easy not to consider the meaning behind the choices made but it’s so clear when things are made without meaning. So I constantly ask myself,
“What does this choice mean and how does it support the work?”
The Poem. . .
Toward the end of this week, I was able to get a draft and voice recording of the poem from Alex. It was incredible to hear how he brought it all together and it really inspired my vision for the film’s overall atmosphere.
He writes with a clear respect and heart for nature which comes through the ever-present themes of care for nature throughout his work.
He does a wonderful job of accomplishing his goal of starting small and, like a seed, growing the piece into something big and beautiful.
From the beginning soft reputation of ‘s’ and ‘ing’ – these subtle sounds carry the first stanza smoothly onto the second that comes alive with a new pace and rhythm – awakening both reader and listener.
He then goes on to question his audience – he allows us the space for introspection and contemplation and ends the poem with a beautifully hopeful anaphora of ‘Good Things to Come’.
It’s a beautiful work created in the midst of nature by a poet and lover of the spaces he inhabits. Alex beautifully weaves words like ‘spin’ and ‘dance’ to echo the movement that will be seen throughout the film and his innocent cinnamon voice makes for an eager and exciting score for me to dance along with in an optimistic pas de deux between voice and body.