Side Stretch

It seems that side stretch is fast becoming part of the ritual of the Enron rehearsal room. Recording and understanding the significance of this warm up is important so as to make it something I do for a specific purpose and not just as a passive movement.

Step 1

Step 1:  we walk around the room and when we feel the need to we: stand still with your legs wide, raise your arms above your head and arch your neck backwards releasing your breath on an 'ah'. This should open you up both physically and to the space you are working in, making you focused and aware.

Step 2- when we have completed step 1 enough times to become sufficiently focus we assume the warrior pose in a space in the room. The aim is to connect with invisible lines that run through the space, our body and the atmosphere. Remaining silently strong and focused whilst waiting for others to assume this position allows the energy you gained from step 1 to be transferred and maintained.

Step 3- when everyone has completed steps 1 and 2 a person in the ensemble calls whether we are going right or left first and then we go right to left with our arms 8 times. Keeping the lines in your arms and counting aloud normally creates an atmospheric environment in the room.

Step 2

Step 3

Step 4

Step 4- after you reach your final 8 count, you twist your hips to face the direction of the last count lifting your hands into a diagonal parallel, an extension which should coincide with the line your legs are making. If you went from your toes to your fingers you should be able to draw a diagonal line.

Step 5- keeping your arms in parallel you slowly bend at the waist so your hands come down to position themselves one hand on either side of your front foot.

Step 6- stepping your front foot back you come into a plank position which then leads you into a press-up aiming to keep the transition from each movement as smooth and controlled as possible.

Step 5

Step 6 

Step 7

Step 7- after your press-up you move your arm nearest to the back of the room under your torso and use this motion to roll the opposite way onto your back so you are laying flat.

Step 8- slowly raise your arms and legs at the same time with your ankles and wrists crossed over each other with the aim to crunch your abdominal so you can see through the hole in your legs. Breathing is key in this position and you should hold this position until the room generally decides to lower back down to flat.

Step 9- after taking a moment to regain a normal rhythm of breath, roll back over onto your front and push yourself up into the sphinx position. When there, rotate your head slowly from left to right trying to take in everything you can see and sense in the room.

Step 8 

Step 9 

 

Step 10 

Step 10- after completing step 9 lower back down to flat. Then push your bum up and back so it comes to rest on your heels whilst extending your arms out into prayer position. Take a moment here to breath as if through your toes and experience the difference in breath when in this position.

Step 11- after time in position 10 flip your palms to face upwards and drag them backwards lifting the top half of your body up into kneeling. Take a moment here to rest and slowly feel the rotation of your body; your breath, physicality and mentality and when you feel the urge to stand and finish the rotation, come to stand in neutral, exuding energy towards the horizon.

Step 12- once everyone has come to the end of step 11 the room should be alive with the energy the actors are giving out. The focus should have peaked in this moment. Then our director will shout 'HA' and we jump back into warrior pose. The aim is to say and move on the 'HA' as if simultaneously without delay.

Step 11 

Step 12/1 

The aim of side stretch is to obtain the energy and focus that our rehearsals require. Taking a moment to get in tune with our bodies and minds sets us up for a good rehearsal full of positive energy and creativity. Side stretch should become not a serious of steps but a flowing transition, not separating any movement, but allowing them to become one move. It shouldn't be performed, but experienced and lived and it is important that if it doesn't work for one rehearsal with time and practice the exercise will become an easy entry point into the alive, constantly moving world of the play.