An open space, with enough space to move unhindered

Warm Up and Breathing- 

• Find a space in the room.
• Accessing breath and stillness.
• Rolling up and down.

Finding Character

• Walk around the room.
• Observe one person’s walk
• Begin to copy your partner’s walk.
• Exaggerate your partner’s walk.
• Exaggerate the walk even more!
• Find an exaggerated still pose for your character.
• Return to the neutral position.

Exercise One:

1. Find three morning activities for your character.
2. Make each activity short and physical.
3. String your activities together in a wake–up sequence.
4. Once you have created your wake up sequence, rehearse and polish it.

Exercise Two:

1. Separate into groups of five.
2. Each take a turn to show your rehearsed wake up sequence to the group.

Exercise Three: 

1. Find three midday activities for your character.
2. Make each activity short and physical.
3. String your activities together into an midday sequence.
4. Once you have created your midday sequence, rehearse and polish it.

Exercise Four:

1. Separate into two groups of five.
2. Each take a turn to show your rehearsed midday sequence to the group.

Exercise Five

1. Find three evening activities for your character.
2. Make each activity short and physical.
3. String your activities together into an evening sequence.
4. Once you have created your evening sequence, rehearse and polish it.

Exercise Six:

1. Separate into two groups of five.
2. Each take a turn to show your rehearsed evening sequence to the group.

Exercise Seven:

1. Start in a sleeping position.
2. Combine all your sequences into one long day sequence.
3. Rehearse your sequence.
4. Make each action in each sequence punchy and crisp.
5. Play with different levels.
6. Include movement in between each day.

Exercise Eight:

1. Separate into two groups of five.
2. Each take a turn to show your rehearsed full sequence to the group.

Billy Langa is an award-winning actor, playwright, and educator. Langa takes a curious approach to theatre that’s deeply relational to the body – puzzling out what theatre means to those who perform it and those who witness it. A recent interest of Langa’s is the presence of language, and how it fits into the physicality of theatre.

His directing credits include, A place of knowing, Just Antigone and Sophiatown; As a performer in Tswalo in Germany, South Africa and Scandivia; Salt at the centre for the less good Idea in Johannesburg; Redsoil/Brownsoil at the National Arts Festival; Egoli at the Market Theatre Foundation in Johannesburg; Surplus, Jane Taylor and William Kentridge, at the centre for the less good idea

Awards include Cape Town Fringe Fresh Award for Performance, Standard Bank Ovation award, The Naledi Theatre Award for Best Production for young audiences, Arts and Culture Trust Impact runner-up prize and a Naledi Award for Best Solo performance.