Treatment  |  Recovery #1  |  Frank Turner

Set in a non-descript rehearsal space, lights, stands and technicians are visible in the wings . Frank sits on an armchair in the centre, guitar by his side on the floor.

A troupe in all black move in as the camera pulls out, Frank is lifted from the chair, the chair whisked off and the guitar placed over his shoulders by the leotard-clad figures. The drums kick in and Frank begins foot-tapping and shoulder shifting, an involuntary response to the moves and tweaks of the troupe.

What follows is a choreographed sequence of movements and gestures with Frank being puppeteered by the troupe as they fight to keep up with the lyrical pace. Flip-books, cut-outs and other adornments act as simple props to convey the sense of movement and rhythm on behalf of Frank. Books held in front of his lips spill out concertina'd words, chalked lines on the floor become pathways and pianos are outlined in time for choreographed moves across the keys.

Mirrors, lengths of fabric and the pure physical dexterity of the performers create a series of scenarios that use the device of theatrical representation at it's simplest to create a dynamic performance piece.

A couple of points of reference are Alexander Calder's circus films - http://www.youtube.com/watch?v=iT_qA_WI47U - an amazing example of simple techniques to create a lovely sense of movement and Lars Von Triers Dogville - less the mood of the film, more about the use of the theatre floor as a film-set. The overall mood hints at 60s performance theatre in terms of overall styling, with a nod to Fred Astaire in the choreographed elements. Colour will be used sparingly for effect in what will be largely a monochrome setting.