Christian talks about The Enormous Room

Christian brings us his thoughts and feelings of The Enormous Room before going back into rehearsals...

The Enormous Room

My favourite section:
My favourite section of the piece so far is the transition leading into section 2. The watching of everything fall apart to then almost be rebuilt with an explosion of energy is very exciting as a performer. I find that the movement is a cathartic release and great to dance in unison as a company. The visual chaos as the set is moving at the same time as us is quite a spectacle and I love that we push the timing to the last second before the movement comes out of nowhere. As a performer, it is so great to be challenged by this dynamic and snappy movement whilst being super clear in the body.

Character Development:
I find it a challenge to balance out the nerdy and clumsy nature of the character; knowing when it is too much or not enough and how I can bring these feelings into the movement. The next thought process here comes when connecting all of these aspects together with my relationship to the other characters in the work. Through exploration, I have found a style that is quite dynamic with vibrating movements and sharpness. Another aspect of my exploration has been working on how to talk with my back as there are many occasions in the piece where this is very important. How can I convey emotion through my dynamics whilst at the same time developing my physicality to be precise and consistent
One of the most challenging parts of the work for me is section 2. I need to keep my empathy and eyes on Hannah's character whilst being super aware of everyone else, splitting my characters mind into 2 parts as well as the right and left side of my body. I am beginning to understand my role in this section and I am looking forward to returning to the piece and rediscovering new things.

Learning from the process:
One of the most prominent things I have learnt is clarity. I feel that this is the next step for me in evolving as a performer. Whether this is clarity in my physical movement or emotional clarity with the character or feeling I am trying to convey. On top of this, I wish to work on my movement style; exploring different ways of improvising and creating movement. I am really enjoying learning from all my colleagues. They have so much incredible experience and I can become a sponge, absorbing as much of their knowledge as I can.
A major learning curve throughout this process has been working creatively, effectively and efficiently with the set. I have loved the challenge of discovering new ways of moving due to restrictions as well as overcoming slight nerves of performing at a height. I have found it to be very interesting when finding the continuity between each section whilst using the set; having to time exits and entrances, where they take place and how they take place has been an important part of the piecing together of section 1. I have also learnt the value of being in touch with your character and the characters of the other performers. This has been invaluable through making an entrance on stage, knowing why you are entering and what you are coming to do, filling yourself with a purpose that aids the overall perception of the work.

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