Research and links

Movement of the Human Body Through Space

Space, Costume, Scale and movement

Becs Andrews, ‘Faster’

The costume was designer to reveal significant anatomy in sport and movement. To create the shapes of the costume she followed the lines of the dancers bodies.


Desiree Bastos, ‘A Inquietude’

The piece is in a place where nowhere and no one merge. The piece explores the body in space and as space through the interaction of the actress and set.

‘The moment the actor is tied to the set and carries it with her is an example of the incredible expressive special power of this interactive creative process.’

Pina Bausch


Theatre group that questions the traditional aesthetic and forms of modern and classicsl dance. Push beyond the values they reflect to enable discussion of wider and more complex issues. They push boundaries on the constant re examination of the roles and relationships of men and women in our societry.

What is sceneography?

Performers – the scenographic designer

  • human being is sat centre of live theatre – director and scenographer work from actor
  • always one performer – need to wear something
  • costume is extension of actor in space
  • actor are mobile, unpredictable, transforming, they inhabit a costume, not just wear  it. Costume is a second skin.
  • body/space occupies and displaces

The Body

  • sculpture on which scenographer creates and builds a costume
  • anatomical understanding underneath
  • each part of body has cause and affect
  • constriction: corsets/ height of shoes/ weight  effects posture and therefore movement.

The actors Imprint

  • listen to actor talk about themselves shows they understand physique
  • helps make costume more successful

The Moving Body, Teaching Creative Theatre, Jacques Lecoq

Movement Technique, Physical and vocal preparation – giving meaning to movement

  • study human anatomy
  • making movement is never a mechanical act but must be justified. there are 3 ways of justifying – Indication, Actions, States. These relate to the following dramatic modes, pantomime , comedia dell’arte and drama.
  • gesture is inscribed in relationship between actor and space, gives rise to inner emotive state, outer space and reflected inner space.
  • physical preparation – assist fullest realisation of accurate movement – should be no sense of the body getting in the way.
  • voice should not be separate to body
  • each gesture posses own sonority, or voice. Utterance of voice in space shares same execution of gesture, in the same way you can throw and object through space you can throw your voice.

Dramatic Acrobatics

  • the bodies limits
  • acrobatic movements no purpose than play.
  • first natural movements of childhood
  • actors must return to this freedom before social maturity has forced more conventional forms of behavior.

Location, Space Environment

David Shearing


Tree for birds






Semiotics and phenomenology

Hamlet Speculative Design Project

Suitcase Project


Great Book

Origami flotsam and jetsam, detail untitled (Canis Major constellation), Joseph Cornell

Visualizing making Choices

Visualising Decisions

Saturday Night and Sunday Morning This is a montage of clips from a production of ‘Saturday Night and Sunday Morning’, adapted by Amanda Whittington. This short film as given me a sense of what life was like for teenager of similar ilk to the characters of ‘Saturday Night and Sunday Morning’.  I have also used it for costume reference as i want my characters to be clothed authentically. I think it has many parallels with the play i am designing, both have left me with a feeling of sadness.

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