We also found some more time today to play and improvise. I've seen once more how beneficial it is to offer this space to the performers (although perhaps even more importantly with puppeteers) to provide some control and creative license. But also as we actually came up with a couple of beautiful motifs that the director is now keen to use in the show. We also did some more aerial exploration - seeing what the potential is for creating the illusion that the elephant is picking her trainer by the trunk. An aerial specialist came in to help lead this section and it surprised me a little how easily and how much more smoothly this rehearsal was able to run with someone in the room who spoke the same language as the performer. Perhaps ultimately this is what is key when rehearsing/ creating a multidisciplinary show - something that is always important in my work with Indomitable Productions.
We went for musical narrative that contrasted with the upbeat, frantic circus theme we had already sensed in the other scene we created. I thought that the slower and different styled classical pieces worked well, particularly Humperdinck's overture to Hansel and Gretal and 'The Swan' (from Camille Saint-Saens Carnival of the Animals) as it gave the baby elephant the chance to explore its personality outside the music world we would usually have provided and expect.
It was beautiful to see the puppeteers have the freedom to play. To see what opportunities brought and where their instinct took them. Usually in processes like this the time is so constricted that there is just no space to play, no room for collaboration like this. Luckily enough we have been provided two weeks to create about three relatively short sections, and luckily that allows the best of both worlds.
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