David Ball: But do it backwards.

For our Monday lesson,
We already decided on our synthesis aspects, and a rough plot. Our task this lesson was to refine the plot and create more depth into the planning. To help us, Mr. Evans gave us an extract from a book by David Ball. He said that instead of going from beginning to end, chose the beginning and the end, and then start at the end and work backwards.
We decided to do this. Our ending was the protagonist jumping into an empty pool.
our thinking process went something like this:

The protagonist jumps into an empty pool.
But why?
Because he couldn't stand not going to swim for such a long time
But why?
Because he's obsessed.
But why?
Because he wants to wash away his sins (ablutions)
But why?
Because he feels guilty for his wife's death.

This is our finished timeline:



We were discussing how to show the ending, and we thought of projecting a newspaper article. Then we decided in putting it in the front.
Then that's when I came up with the idea of synthesising times. At the beginning we could have two actors who are discussing about the news about a guy who jumped into an empty pool. Then, the protagonist comes in and passes by them, and that's when the focus changes.

On our next lesson, we decided to try and physicalise the last scene. We experimented until we got an idea combing Shun-kin's use of sticks and a Butoh aspect. Maria, the protagonist, comes on a higher level with Sara and I holding sticks to form a part of the pool. Then Maria with a red sarong comes on and when she jumps she almost jumps in a slow motion way then floats a bit (to show that in her mind she is actually swimming) and then fall with a frown. Slowly, Sara and i fall as well as if we are mourning her death.