STAGING/WIDER CONTRIBUTION - TECHNICAL SPECIFICATIONS

 Tech Specifications & Reasons:

• Low gobo wash as they're breathing together: I wanted the light to be low and patchy with the gobo to isolate body parts and establish their relationship as a connected system, so I didn't necessarily want to audience to see who is who whilst establishing that starting position that will be repeated a few times.
• Sidelights + Wash brighten through opening sequence: As they start moving off their spot I wanted them to get more visible so the relationship is more visible through movements and breath.
• A diagonal overhead light starts as Emily walks backwards to upstage right: This marks the start of a new section as they both finish their solos and are drawn back together, it gives Emily a clear direction back to Tilly and continues to the end of the song with the movement through the light which is brighter than the wash to highlight the leaning positions. 
• Lights pulse over gobo wash with the beat of Song 2: This enhances the 'heartbeat' of the second song and enhances that theming visually in the piece along with their timed movements.
• Wash back to normal at the start of song 3: they start separating now so I want it to feel less connected in their breath and heartbeat to build a bit more tension.
• Highlight on Tilly as she moves forward to do her solo, lights get brighter as she speeds up: I wanted to have a closer focus on these repetitions to build tension further and feel this idea of focusing inward and having this obsession and hyperfixation over her material until she reaches her top speed.
• Lights sharply go back to regular wash brightness as she stops: enhance the impact of her stopping and giving up.
• At the start of the Dragging section, return to full-stage wash: the hyper-focus is gone and they're revisiting familiar leaning positions.
• Lights fade back to setting light as they return to start position: enhance the cyclical structure of the piece and bring the energy down with the lights.

My piece is the second in a double bill with Courtney's contribution - Restricting Space: Navigating Movement, and although this was mainly done for tech reasons, I think the two pieces work quite well together. They both stem originally from concepts that deal with mentality in some way shape or form, but also the way in which we're presenting our concepts is ambiguous in the audience knowing the full extent of what they're about in order for them to find their own interpretations, connections and perceptions. We've also both worked with second-year dancers and had injuries play a part in our processes so behind the scenes we've had some similarities in how we've choreographed. We also both wanted to do a post-show talk to expand on our ideas and starting points after the audience had seen the pieces so that worked out well.