During a course at the London International School of Performance Arts, I had taken a module called The Dramatic Space. Students were asked to explore the energies in the a space and how with full body extension and contraction in movement, eyeline and wordless sound, the size and energy of a space can be changed by the illusion of the action of the performers on stage. I took the course because I felt a little rusty and remembered the stamina needed for Security, my first one woman show, and how performance classes influenced my approach to my writing.
Watch Mahmoud, a 47 Palestinian man, self-exiled to London.
I was able to edit, analyze the concepts of movement, song and character expression replacing text. I became less precious about text and as a writer, that was a huge step. What was also really most interesting was how the language and natural rhythms innate in all our personality traits, quirks and natural expressiveness is written into character mono or dialogue if the characters are explored well. Their back story is crucial.
What I loved about The Lispa courses also was because, of their intense nature, (I love to work in short, compact bursts) the immediacy of making working, the spontaneity and quick team collaborations generating raw, moving and very funny scenes pulled an uncensored creativity from me – no time to judge, only to respond with fearless authenticity to some of the difficult tasks set.
LISPA is a very interesting world of drama exploration and has helped me with what is means to perform with and without text. The course helped me look deeper into my writing styles, techniques, patterns and flow.