b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Susannah BramwellReflection on Process and Breath sequence, I felt initially terrified. However, I calmed myselftechniques, I was not able to be as open or responsive to by deepening my breath and aiming to commit fully to themy peers. It is evident that this approach worked for me, as exercise. However, I was still not fully present during theon the 2nd of November I reflected on the way that being Submitted for the module Physical Performance exercise as afterward I wrote in my journal that althoughin this space makes me feel so intense its probably the the mask was encouraging use of whole body and breath,ability to just sink into this moment. Grateful. Therefore, I didnt manage a complete engagement. Nevertheless, Ithis work was among the most crucial that I did in the Susannah Bramwell discovered that I could use the exercise as the trainingwhole module, and I will be utilising it in the future when I tool (Disanto 2016:119) it was devised by Lecoq to be.feel nervous in a creative process.Disanto claims that the mask enables one to experience the state of neutrality prior to action, a state of recep- The work I did on my breath and presence was also tiveness to everything around us, with no inner conflictintegral to the work my collaborators and I did together Initially, I found the Physical Performance module chal- more confident in creating and sharing work in the public(2016:121), and although I did not feel this in my firstin preparation for the MP2, and especially for us to come lenging. As a self-described non-performer who hadspace of the studio. A day that stands out to me was the 5thattempt, I took what I learnt with me. In the final sessioncollectively together as an ensemble. Britton examines how spent months outside of the studio, I found it difficult toof October where I experimented further than before withof the module, I reflected that a key moment of discoveryshared training can be . a core element in encouraging fully relax into creating. A body-based approach focusingmy physicality while bringing to life an orange golf ball. Ifor me was the availability I found in the mask. The out- ensemble (2013:6) - our previous work in the module cer-on breath was most useful in helping me engage fully withwrote in my journal that I felt out of my daily body, andcome of this work was that I learnt methods that enabledtainly enabled us to form a stronger sense of a collective. the process. I developed my use of breath through yoganow I can see that this is what enabled me to unselfcon- me to be available to create with my MP2 collaborators. Our shared consciousness of the importance of centring during the warm ups we did, and eventually used breath assciously create with the golf ball. I committed completelyourselves and using our breath was fundamental in the a composing element in both the first and second Mi- to this exercise and it was a turning point for me in theThe idea of availability through commanding my breathdevelopment of the trust we built in the rehearsal room. cro-Performances (MP1 and MP2). To further my confi- process. was a key facet of my personal process, and an aim of theWe started each devising session with warm-ups devel-dence in creation, exercises that helped my embodiment inPractical Seminar I conducted with my collaborators onoped from our Practical Seminar that helped us become the studio were also useful. The idea of being present usingBreath is also a key facet of physical performance; Emilythe 5th of November. My collaborators and I decided toembodied and engaged in the space. Consequently, we felt my breath was key to this, and the exercise that was mostKreider had been emphasising the importance of breath infocus on the neutral body (in opposition to the dailya vibrant connectivity after warming up together that, on valuable was working with Lecoqs Neutral Mask. Thecomposing the MP1 since the start of the process. How- body) and how different energy flowing through the bodyreflection, resonates with Shevtsovas description of an outcome of this work was that I then felt able to play andever, I was clearly still insecure on how best to start thatcan affect our creativity. For example, when our energyensemble as a permanent group breathing as one (Britton create with my MP2 collaborators as a strong ensemble. composition as I repetitively wrote in my journal thingsis blocked, we are stuck in our daily bodies which can2013: 11). Later, on the 30th of November, I reflected that like its in the spirit of trying things out and giving it adampen the work we produce. The idea of energy led methis feeling of breathing together led me to [get] on with I immediately felt daunted by one aim of the module: togo! in early-October. To find inspiration, I reinvigorat- to consider yogic chakras, as when chakras are open energymy group so well, feeling creatively at ease, unstifled, even develop our own physical language. However, in one ofed my exploration of the natural world. In my research Ican run through them freely. Moreover, I had previouslymore free to just chuck my body in and move it. My writ-the early sessions, 24th of September, module convenorobserved how everything had a natural rhythm, and whenexperienced how yoga and breath work enabled me toing emphasises the full embodiment I had discovered for Emily Kreider led the group through a yoga sequence toI attempted to imitate the world around me in the studio,reach a neutral body state. I decided to focus on the solarmyself by the end of the process.warm up. She emphasised the use of uniting our breathI found myself subconsciously altering my own naturalplexus chakra for a warm-up, as other practitioners like with our movements. After this exercise I wrote in myrhythm: my breath. Consequently, I threw myself intothe Chantraine Dance of Expression (2019) highlighted theMy easeful presence enabled me to play and take risks in journal in these sessions I want to get my thoughts OUTthe MP1 preparation using my breath as a key compos- importance of central control for physical work. I re- the creation of our MP2 performance. For example, most of my headand I just want to be present in my body,ing element. I let the force of my breath lead me throughsearched pranayama breath techniques that lead from theof my groups final work developed from improvisation; like I was just now listening and moving my body. Oneach layer of my score, including the rhythm, tension,solar plexus and discovered Breath of Fire or Kapalabhatisomething I have historically struggled with due to person-reflection it is clear to see the place of struggle I started myand weight of each movement, as well as the transitionsbreath (Spirit Rising Yoga 2019); a rhythmic breath of sharpal fears. However, I trusted my connectivity to other col-creative work from, but this moment in the studio was anbetween movements. Using this approach benefited myinhalations and exhalations powered by the diaphragm.laborators so completely that I pushed through and turned important discovery for me; I found I could quieten thecomposition, and this was recognised in my performanceIn preparation for the Seminar I practised this techniqueup to rehearsal determined to improvise, use my breath, thoughts in my mind and connect to my process throughfeedback where I received positive comments on my useat home, and agreed with Spirit Rising Yoga which main- and allow my body a full range of expressivity. In the last yoga, and my breath. I soon started doing yoga at homeof breath to show tension. Most importantly, I was able totained that an important benefit of Kapalabhati breath issession I wrote that trusting the others was one of the to complement the work I was doing in the studio. I usedexperiment with elements of physical performance and feltthat it increases oxygen delivery to the brain, facilitatingthings I was most proud of. Goat Islands method of cre-Adriene Mishlers YouTube channel, Yoga with Adriene, asexcited to share my score. a focused, intelligent, and neutral state of mind. Breathation engages with the ensemble we created. Goat Island her practice focuses on an awareness of breath, and findingwork proved effective in providing a sense of presencewrites in Letter to a Young Practitioner: Critical evaluation is what feels good. Through this daily practice I found greatClearly, my breath helped me to feel engaged in the pro- for other students too. After the Seminar, I wrote about atransformed into the need to respond creatively. The work tools that I used in my warm ups in the studio. Yoga se- cess. Subsequently, I felt confident, able to experiment,shared feeling among students that the warm ups help[ed]exists in the moment, vital, perhaps not yet even assimi-quences helped me to unite my body and my brain, in usingand take risks. I discovered how intrinsically my breathbody and mind goleaving feelings at the door. Marshalllated or understood by the artists who made it. In almost pranayama techniques I could mark each new breath as awas linked to my personal embodiment through the workargues that there are key criteria to being a good perform- every session this idea of existing in the moment, without new arrival and anchor the thoughts of [my] busy mindwe did on Lecoqs Neutral Mask on the 24th of Septem- er, one of which is being open and responsive to othersyet understanding what we were creating, became crucial (Mishler 2020, FWFG Kula). Furthermore, I found I feltber. When I volunteered to perform the Neutral Mask(2001:95), and certainly before I discovered yogic breathto our creativity and the final work we produced.54 55'