We described how we'd been working, the repetition of the sequence and playing and overlaying with tweaking as we progressed. Cathy connected with what we were describing but suggested that rather than trying to fix everything at once, focussing on one at a time might refresh our perspective.
Cathy guided us to re-visit the beginning sequence, singling it out and focussing on the detail of it. Cathy also encouraged us to explore what happened when the performer was liberated from a vision restricting mask that we'd incorporated. Suddenly something very magical started to happen.
We were, at this stage, very familiar with the structure we'd been running. The tweaking that Cathy proposed led us to a brand new iteration of that structure. Cathy had brought our attention to the new possibilities of a new approach, exploring the options of one given moment. After we'd established which of the options was the best fit I suggested that we play out our familiar structure by following the conventions of the best option.
A very stripped back version of the structure rolled out in front of us. By chance this included a new, very satisfying movement across the space.
It was a jaw dropping and liberating moment for me. We were able to step away from the repetitive running that we'd got into the habit of. Something structural snapped very certainly into place during this chance exploration.
Cathy told us that Forced Entertainment often try 'another version' of their shows when they're finding their structures. Even if the iterations are rejected they offer an opportunity to explore tones and qualities that might have been overlooked otherwise.
Another benefit of this exercise was that Jonnie got a much clearer sense of what was required from the sound following some feedback from Cathy.
We lovingly title the iteration 'The Po Faced Version' and conclude the day, and our mentoring with Cathy feeling positive and productive.