THINGS TO THINK ON

Here are some things I would like you to take into consideration: 

• The space to be used will be the entire square, we can even enter the area from the audience (as if by surprise). The space each “body” takes up will be determined by the space each one of you occupies and this can become your “reason d’être”. We are going to try to mix with the audience - the audience want to see a show, but, in return, they will have to be part of it .

• We can appear from different places, such as balconies and adjacent streets. We don’t all need to come out from the Town Hall.

• Maybe some people could have their T-shirt and tutu inside a rucksack and dress for the occasion, wherever they want, when the show has just started, and after stand where they are.

• We can use repetition as another type of movement provided that we take into account that we have to change the intensity or emotion with which that movement is carried out. These changes will always be associated with the sound we perceive, and that is why I don't think repeated movements can be done in exactly the same way all the time, because the sound isn't likely to be repeated with the same intensity and frequency.

• Let us remember that we can interact with the architecture in the square (that is to say, all the bodies of the people present also form part of this architecture).

• We can dance to the breathing pattern of the people in the audience closest to us.

• When there is a clear "sound source", all those who hear it can move towards it as a group. (Move closer and look at it, whilst listening to it)

• It should be made clear and evident to the audience that we are listening to sounds, especially at the beginning, when all of us are listening to sounds but the audience may not perceive that we are listening for a few moments to the sounds around us.

• 2 individual squares could be created in the performance area if we have difficulty accessing the main group, but only when the squares are being done in slow motion.

• If the audience applaud or whistle (which is very likely because anything can happen during the Fira) we can move as a group towards the place where the person who has applauded or whistled is and move in front of him/her. (but without trampling on anyone).

• We must take into consideration that so many people dressed practically the same (I guess that those of you who have had the T-shirt since the open dress rehearsal have already customized it!) is already sufficiently impressive, so whatever we do will be great. Remember, our movements in unison shouldn't be fast but it is important they're done at the same time.

• Everything that we do as far as movement is concerned, will have to do with the extent/the intensity with which we can perceive the sound: louder or softer, nearer or further away; and this intensity somehow should influence the movements we make, whether they be larger, smaller, more intense, more angular, more rounded, more unexpected, harder, softer, movements of just one part of the body, etc. Basically, all those things that we discovered and worked on those Saturdays we met up.

• It is time to forget our "list of set movements", but keep it in reserve for those moments when our minds go blank, or we don't know where to go. Then we can go back to it, as Montse said, as if it were our "reference library of movements". Finally, and to quote Roger Bernat (one of the contemporary creators I most admire) "As with most electrical appliances, some people find it easier not to look at the instructions." This is therefore the first instruction.