Two videos in this post.
Scroll down for a Behind-the-Scenes.
Scroll to bottom for Final Shot, unedited.

THE EXPLORATION

Shooting long takes gave me the opportunity to expand on the idea of lyrical movement. How does the camera maneuver in ways which compliment/counter action onscreen? What is the effect of the moving camera? Does it serve to spy or to stalk or to tail? Are characters aware of the persistent camera?

Long takes require objective, choreography and communication. Rehearsals are thus essential for trial-and-error to achieve the desired image.

DEVISED & ITERATIVE PROCESS 

Devised Theatre refers to a collaborative process by the whole creative team; everyone improvises until a fixed, consistent text emerges for presentation.

Of course, we could not begin with nothing. Our limitations provided the framework. The performance space was limited to the living room, balcony, and part of the kitchen. I questioned, “what actions can the characters take in ways which add meaning to the space?”

With this initial thought, the “text” has begun to take shape. I was inspired to take a step further, providing a more concrete idea for the actors by including the following actions: to take a break, to eat, to step out, to return. While my directions gave them creative limitation, I also allowed myself to be affected by them.

I had expected to work only with one actor, my housemate Katherine. However, on a last minute notice, we had guests over due to private reasons. Rather than avoiding their presence, I took it as an advantage to have them be a part of the set and thus contributing to the text. With that, the set had added meaning and the performance took on a more meta perspective. Rather than a mere display of a living room, kitchen and balcony, it had (purposefully) become a film set.

Off set, Lelly seemed to take a keen interest on the book (prop) so I took that sincerity and made it a part of the performance text as well. The book has now a new purpose: it was not just a mere prop for Katherine but something more meaningful to Lelly. On the other hand, Lelly’s presence is now more purposeful. Ann working on her laptop also informed the audience of the house as a working space and made more concrete the performance’s meta effect.

Moving around the space seemed like a dance between the actors and camera. We had to repeat actions in various ways to build up the choreography for smooth transitions. In this way, rehearsals were an iterative process where we would identify problems, communicate them and then applying solutions together. For example, having been instructed to exchange the multiple items in their hands, the actors came across an inconvenience before Lelly specifically decided to give with her right hand and receive with her left while Katherine took the opposite direction.

Gradually, as the choreography gets mapped, our objectives become clearer too.

(Main) CHARACTER’S OBJECTIVES

Ultimate Goal: to stop filming
Smaller Goals: to show disdain, to rebel, to talk to a friend, to eat, to get some fresh air, to obey

CAMERA’S OBJECTIVES

Ultimate Goal: to convey characters’ objectives
Smaller Goals: to regard or disregard, to stalk, to nag, to lead, to instruct character

DIRECTOR’S OBJECTIVES

Ultimate Goal: to facilitate actors’ and camera’s journey and objectives
Smaller Goals: to visualise and communicate choreography between actors and camera, to decide what will be captured in frame, to direct movement that is outside of frame, to help actors move in the most convenient/efficient way