Project Sword: a reflection

Upon reflection, it’s difficult to reflect on the journey we’ve made as a company – both personally and professionally. In September, we decided to focus on creating work around the D Day landings. Considering the emotional magnitude still felt by these events, we knew our task would be monumental. We started by creating fragments of material, devised from a research background. As the process continued, the amount of fragments multiplied and we were ready to start thinking of a compositional structure for the performance, a structure which would allow visually intriguing images to flourish, whilst also telling a factually correct narrative which addressed the facts, and not re-enact the trauma. Now that the performance was composed, it was time to place this within a set and light it accordingly, thus, creating a new scenographical language for the company to explore. The aesthetic of wood was introduced and formed a key aspect of our scenography. A set constructed of wooden palettes achieved the desired aesthetic, and allowed us to manoeuvre and manipulate these to create set pieces such as a pub and a landing craft. It was the synthesis of the existing material and the relatively new scenography allowed the performance to find its own language. My personal learning from this experience has been to be selfless in the process. To place the performance, and the theatrical image, ahead of my own solo moments. As a company, this is something we strived towards. The effect of this was that It created moments of true ensemble in the performance, allowing the company to work towards one clear goal: creating a performance which pays homage to those who fell on Sword Beach on the 6Th of June, 1944. With thanks to the team of tutors at York St. John University; Hull Collegiate School, Richard Lawrence and Kiran Tanna. Finally, to John Merrylees, for his consistent advice and wisdom throughout the process. Until next time, James and the Northern6 team.