Jerwood Bank 2007

End of day 7. We have given the difficult task of finding the simplest , or should I say, most spare movements. These ‘moments’ then have to be put through a short musical score so that literally a move relates to a note. The song can then be sung physically…. This is a demanding task on many levels: It forces the body into connections it wouldn’t normally make. It cuts through any attachment you may have had to the original movement and what is was doing or trying to express. It demands that you remember how the movement relates to the score physically, before you can begin to refine your ’song’ in terms of quality. All this just so we can move forward to the main ideas for this year’s Bank, and all in one week.
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7 days into the process: lots of information.
Income-outcome:
Excitement-exaustion.
Internal-external.
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Roberta’s clip from the 9th August. 
Duration: 16 seconds

Susanna’s clip from the 9th August.
Duration: 30 seconds

Duration: 2 minutes
Harriet Walter on the interweaving of expression, rhythm and the intention of language.

Duration: 18 minutes
Audio clip from the conversation with actress Harriet Walter, exploring simple intentions behind motion. 

Duration: 4 minutes
Harriet Walter on finding meaning, rhythm and emotion in Shakespeare’s words.

Harriet Walter, Actress
After training at the London Academy of Music and Dramatic Art, she gained early experience with the Joint Stock touring theatre company, Paine’s Plough touring, and the Duke’s Playhouse, Lancaster. She has worked many times throughout her career with the Royal Shakespeare Company, in productions including Nicholas Nickleby (1980), A Midsummer Night’s Dream (1981), All’s Well That Ends Well (1981), The Castle (1985), Three Sisters (1988), The Duchess of Malfi (1989), Macbeth (1999), and Much Ado about Nothing (2002).
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