Magnetic North Blog

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Nicholas Bone is Artistic Director of Magnetic North and has directed all of the company's work.  He has also directed for Scottish Opera, Traverse Theatre, Opera North, Actors' Touring Company, Bristol Old Vic, NIDA and Dundee Rep. Nicholas wrote the text for A Walk at the Edge of the World, co-wrote the libretto of Happy Story (Scottish Opera), co-created Pass the Spoon (Magnetic North/Southbank Centre) and adapted Henry David Thoreau's Walden for the stage.

Some materials

Some books referred to while working on my Walking project as part of Rough Mix

Wildwood - A Journey Through Trees by Roger Deakin (London, Penguin, 2008)

The Pocket Book of Poems and Songs for the Open Air ed. Edward Thomas (London, Jonathan Cape, 1950)

The Worst Journey in the World by Apsley Cherry Garrard (London, Picador, 2001)

One Green Field by Edward Thomas (London, Penguin, 2009)

No Such Thing As Silence - John Cage's 4'33" by Kyle Gann (New Haven/London, Yale University Press, 2010)

Camera Lucida by Roland Barthes, trans Richard Howard (London, Flamingo, 1981)

A Short Walk in the Hindu Kush by Eric Newby (London, Secker and Warburg, 1958)

The Rings of Saturn by W.G.Sebald, trans Michael Hulse  (London, Harvill, 1998)

Rauschenberg ed. Wingate and Florido (New York/London, Prestel, 2010)

Collins Gem Trees by Alaistair Fitter and David More (London, Collins, 1980)
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Ros Steen : thinking about voice....

During these two great weeks I've been aware that while I have managed conversations with some of you and 'soundings' from others, there hasn't been time within our packed schedule to allow for the reflective discussion which would normally form part of the voice process. Also, some of you have asked how you might continue with the work having found an 'opening' through it. Tomorrow we will be caught up in working towards the showing and later we'll disperse, so I just want to say I'd be keen to continue the dialogue at any point, now or at a future date. Should you have anything to reflect back to me which might inform the usefulness - or otherwise - of having this voice work in the Rough Mix project, or any other thoughts or observations, I'd be most grateful to have them.

Looking forward to our last session!



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The tree from our window

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Lynda Radley - Rough Mix Experiences

We are half way through the second week of the wonderful Rough Mix Process and, until now, I've been sweeping the rest of my life and other projects under a big carpet in my head. However, certain creatures are beginning to creep out. So, as I write this I'm keeping these distracting thoughts at bay.

However, I know that as soon as I enter any of the studios in Dance Base -be it to work on Viewpoints, or Voice or on any of the projects being developed- I'm gently immersed in a generous and absorbing process that allows me to 'just be' in the present moment in a way that I often find difficult within my own writing process. I'm hoping that I'll be able to take some of that feeling with me after the week is through.

I've been working on a new script and idea that is in the very early stages. Some of things that I've discovered are:

  • that working with Voice can be a great aid to dramaturgy

  • that thinking about Viewpoints can move the relationships between the characters to unexpected places

  • that there is nothing better than working with generous actors

  • that string has a million uses!

Like Nick, I've been struck by the connections between projects and processes. I look forward to seeing how things knit together.
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The project I'm developing at Rough Mix starts with the idea of walking.  This is something I've been thinking about for a while, but it was only with the approach of Rough Mix that I began drawing together source material.

Among the major reference points for me are Thoreau's essay Walking, W.G.Sebald's book The Rings of Saturn (as well as Will Self's Sebald-tribute Spurn Head in his book Walking to Hollywood), Roger Deakins' Wild Wood, and Apsley Cherry Garrard's The Worst Journey in the World.  As I mentioned in an earlier blog entry, I've also been gathering together music with walking connections or references - including Eric Satie (who often composed while walking), Schubert's Die Winterreise ("The Winter Journey").  Trying to find ways to tie some of these disparate sources together, I've been experimenting with juxtaposition - here I've been influenced particularly by Robert Rauschenberg's experimentations with this.  I was very struck by his comment that he avoided "images that are fixed.  You get that, and it is just illustration."

At this stage in a development process I find that I'm often just following a hunch and seeing where it leads.  Sometimes this leads to useful discoveries, sometimes not - but nothing is wasted as even discovering that what seemed like a great idea is actually a dead-end is a guide.

Among my dead-ends over the last few days have been an attempt to create two contrasting movement sequences to "Gute Nacht" - the opening song of Die Winterreise - the two actors I was working with did some great work on the idea, but it became clear that, as Ian Spink observed during the session, "it's hard to compete with Schubert".  It took me a day or two to understand what was wrong with what I was trying to do, and then I realised that I was guilty of breaking another of Rauschenberg's statements "If I ever see...cliches of association, I change the picture."  I needed to find a way to approach the material more obliquely.

At the end of last week I set four of the performers the task of going for a walk and notating it as they went. I asked them to walk for five minutes in any direction away from Dance Base and to then look for a tree.  Once they'd found one, they were to spend five minutes around the tree, noticing details about it and the environs it was in .  Once they'd done this, they were to retrace their steps, noticing again the things they had noted on the way.  Since then, we've been working with some of the material from these walks, building up parts of the journeys as units of text to work with.  At the same time, I've been gathering together some visual materials to counterpoint the text (including some photos that Kirstin Murray took of the rather forlorn ash tree she found, growing into a metal fence).

Today, we began working the texts and some associated movement work, together with the results of assignments given to two other actors.  One had prepared a short presentation on The Worst Journey in the World (Cherry-Garrard's book mentioned above) and another had created a description of Caspar David Friedrich's painting The Wanderer Above the Mist (a quintessential work of the Romantic period).  Tomorrow we'll try to add music to the mix.

One of the ideas of Rough Mix is to create an environment in which people can be more experimental about how they work.  This is because taking a new approach to a full-scale project can feel very risky, but Rough Mix gives an opportunity to test ideas and approaches out.  I've been approaching the walks material in a much more tangential way than I would usually have done, and am enjoying and learning from the results.


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J. Sharp Taking A Walk
07 September 2014
Very much enjoyed your show at the Brunton Theatre last night and the silent walk to start was an excellent addition, creating the perfect atmosphere....