The combination of body and facial gestures shared in the mood and theme of both the dance and the music. Focus aided my facial expressions. It was important for the focus to be strong, not looking at the floor at any time, but either looking out into the space such as when doing an arabesque but also facing inwards to concentrate on a move, for example the running movements from the pictures. .
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Through the use of Stanslavki's "method-acting" I used my research to characterise a strong female woman, which was then transposed into movements. To achieve the dimensions of Atalanta's character, I profiled her, so that when I was dancing, I would embody the character, this enabled me to access her personality quickly. I used improvisation to create movements, which embodied Atalanta's character. This was reflected in the strong dynamics of the dance, as well as the motifs. Using improvisation, I created movements, which reflected the important words, in the passage accompanying the sculpture. The idea of "tension" was created through the prop of a piece of Lycra material, worn round my hands, and my arms. Through strong upper body and arm movements I was able to create "lines of tension." This was emphasised by the movement on the floor where I placed the Lycra material over by foot and used it to turn into the splits. .
Pressing against the material" was also reflected in the large and full movements, which I used for example, .
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After choreographing the basic movement components, I was able to use some of these movements in my travelling motifs, which reflect how 'certain lines indicate motion.' When I used travelling movements in rehearsal time I was able to see that, when moving around the room, the material created lines, in particular when using turning. This became an important element in the choreographing of my motif and it's developments. I used the sculpture as a starting point when composing my motif, as I believed that they embodied Atalanta's true nature.
